Bibliographies thématiques / Catacombs in art

Littérature scientifique sur le sujet « Catacombs in art »

Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Catacombs in art"

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Fatyushyna, N. Yu. « Basic features of early Christian art (painting, mosaic, architecture, music) ». Ukrainian Religious Studies, no 25 (27 décembre 2002) : 110–17. http://dx.doi.org/10.32420/2003.25.1434.

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The most ancient monuments of ancient Christian art were found in catacombs located outside the cities. The Christian catacombs were a complex plexus of underground narrow galleries with numerous niches where the coffins of martyrs and bishops were placed. These niches formed a kind of rectangular chambers, the walls and surfaces of which were decorated with images. Thus, early Christian art begins with catacomb paintings.
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Kardis, Mária, et Dominika Tlučková. « The Symbol of the Phoenix in the Catacombs of Priscilla in Rome and Its Transformation in Early Christianity ». Biblical Annals 12, no 1 (27 janvier 2022) : 65–88. http://dx.doi.org/10.31743/biban.12903.

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The presented study deals with the oldest Christian depiction of a phoenix found in the Catacombs of Priscilla in Rome. Since catacomb art is a narrative depiction of biblical stories, it is important to incorporate the motive of phoenix into historical context. The study performs analysis and comparison the links and connections of the phoenix symbol in pagan and Christian thought. As Christian iconography is associated with allegorical symbols, the intention is to anticipate the meaning, origin and etymology of the phoenix symbol. The article therefore summarizes how the symbol and position of the phoenix found in the catacombs evolved from Egyptian myths through Greek and Roman culture to the transformation in Christian literature and Christian thought, especially in the Gospel of John, which connects the symbol of the phoenix with the palm and Lazarus.
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Yavorska, V. V., V. A. Sych, K. V. Kolomiyets et A. M. Shashero. « Odessa catacombs as an integral part of the tourist image of the Black Sea region ». Вісник Дніпропетровського університету. Геологія, географія 26, no 1 (30 mars 2018) : 219–26. http://dx.doi.org/10.15421/111822.

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The article examines the history of the Odessa catacombs, focuses on the history of research of underground labyrinths, and their gradual transformation from objects of scientific interest to tourist objects. We understand the tourist image of the region as the system of rationally and emotionally formed ideas, which are based on specific features of the territory, emphasizing its individuality from the point of view of the tourists. Tourist image always is woven into a certain historical context and social situation. Each era generates its special perception of the environment, changing the era creates a modification of tourist image of the region. The Odessa catacombs, which today are an integral part of the tourist image of the Black Sea region, also have changed in the minds of people from time to time – from their purely practical application to the production of limestone; for a while they had a negative reputation as a refuge for criminal elements, smugglers. At the beginning of the last century researchers have engaged in advanced studies of catacombs. Only in the second half of the twentieth century, the catacombs became interesting tourist destination for individual tourists, but in the 21st century and for mass tourism. Thus, the purpose of this research is to update the modern views about the catacombs and underground museums of the Black Sea region and their contribution to the formation of the tourist image of the region. The history of the formation of the catacombs shows that they are obliged to exist in their existence by the ancient Pontian limestone, which was extracted as a building material by locals. Today, the length of the catacombs of Odessa and its suburbs reaches for various data from 1.7 to 3.0 thousand kilometers; they are famous for their multistage and meandering passages of underground galleries. The first studies of the dungeons were done by the paleontologist O. Nordman, the geologist M. Barbot de Marne, T. G. Hrytsay, modern – A. Dobrolyubsky, K. Pronin, M. Baranetsky, A. Babich, V. Yudin, and others. Several museums were created for tourists: the Museum of Partisan Glory in the village of Nerubaysk, the underground Grotto of the Odessa Art Museum, the museum «Catacombs of Odessa» under the Moldavanka district and in the city center «Kantakuzen's Catacombs». The quality of images that arise in mass tourists is directly related to the process of knowledge of the territory. In this connection, the development of travel routes as a way of getting acquainted with the territory becomes especially important. Moreover, contemporary museums are interested in attracting a wide target audience; they also offer expositions of different directions from mine history to various legends about the use of dungeons, from unique paleontological finds to historical drawings and inscriptions on the walls of the catacombs. As a result of understanding the importance of the existence of such an invaluable scientific and tourist facility, as well as maintaining it in a proper condition for historical and cultural monument, influences the formation of a positive tourist image of the Black Sea region.
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Szkołut, Paweł. « Sceny męczeństwa i ocalenia w późnoantycznej sztuce synagogalnej ». Vox Patrum 44 (30 mars 2003) : 381–96. http://dx.doi.org/10.31743/vp.8093.

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The aim the article „The Scenes of Martyrdom and Salvation in Late Antique Synagogue Art" is presentation of all iconographical examples of these scenes appearing in Jewish art of late Antiquity. There are two types of them: one is showing the sacrifice of Abraham and another the prophet Daniel in lions' den. These imaginations belong to a broader range of so called „salvations scenes", which decorated mosaics, relieves and paintings of many synagogues, as well as churches and Christian catacombs.
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Presti, Olga Lo, et Maria Rosaria Carli. « Italian Catacombs and Their Digital Presence for Underground Heritage Sustainability ». Sustainability 13, no 21 (30 octobre 2021) : 12010. http://dx.doi.org/10.3390/su132112010.

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The Italian catacombs represent one of the most interesting examples of the country’s underground built heritage. A strategic use of digital technologies can foster their sustainability by providing virtual access to local communities and tourists, as well as by transferring their value to future generations. Referring to a classification of the catacombs of Italy carried out by the Pontifical Commission for Sacred Archaeology of Vatican City, this paper analyzes the digital presence of this heritage within the contexts of social media, video sharing and navigation platforms in institutional and touristic areas. The emerging results show a good digital presence of this cultural heritage on these platforms. At the same time, they reflect an almost total absence of 3D technologies, virtual reconstructions or augmented reality. Only 2 out of 63 catacombs analyzed offer a photographic overview of the sites through the online Google Art and Culture platform, but this is only a small example of what a virtual visit would offer. The following work is based on this notion, as it aims to demonstrate that this type of underground built heritage still has great potential for the valorization and sustainability of these sites through the use of digital technologies. The use of virtual and augmented reality, enhanced by immersive storytelling, would limit the physical wear and tear on the site, making its conservation sustainable in the long term.
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Novikoff, Alex J. « :Judaism and Christian Art : Aesthetic Anxieties from the Catacombs to Colonialism ». Sixteenth Century Journal 44, no 1 (1 mars 2013) : 240–42. http://dx.doi.org/10.1086/scj24245320.

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Olin, Margaret. « Judaism and Christian Art : Aesthetic Anxieties from the Catacombs to Colonialism (review) ». Shofar : An Interdisciplinary Journal of Jewish Studies 31, no 2 (2013) : 174–77. http://dx.doi.org/10.1353/sho.2013.0007.

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Kuvatova, Valeria. « SYMBOLISM OF EARLY CHRISTIAN PRAYERS IN ROMAN, GREEK AND EGYPTIAN FUNERARY ART ». Vostok. Afro-aziatskie obshchestva : istoriia i sovremennost, no 1 (2024) : 177. http://dx.doi.org/10.31857/s086919080029093-9.

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The question of semantic connections between Early Christian funerary art and texts of Early Christian prayer for the dead – Ordo commendationis animae – remains controversial. Some scholars endorse the idea that iconographic programs of Roman catacombs and Early Christian sarcophagy can be traced back to the prayer. Others highlight the distinctions between them, emphasizing, that the oldest text of the Ordo commendationis animae cannot be dated earlier than the 4th century. Both the prayer and the funerary art embody the same themes of salvation and resurrection, often depicted through shared biblical heroes and narratives. Although there are inconsistencies between the biblical heroes mentioned in the prayer and the most popular characters and narratives in Early Christian art, the semantic parallels cannot be simply dismissed. This research seeks to uncover the origins of the prayer itself and propose liturgical sources that could have influenced regional traditions of Early Christian funerary iconography. Additionally, it hypothesizes explanations for the iconographic principles of several renowned Early Christian monuments.
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Rabinovich, Irina. « Hawthorne’s Rome – A city of evil, political and religious corruption and violence ». Ars Aeterna 9, no 1 (27 juin 2017) : 1–6. http://dx.doi.org/10.1515/aa-2017-0001.

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Abstract Hawthorne’s Rome is the home of dark and evil catacombs. It is a city haunted by evil spirits from the past that actively shape the romance’s plot. Rome’s dark gardens, endless staircases, hidden corners and vast catacombs, as well as the malodorous Jewish ghetto, affect Donatello’s and Miriam’s judgment, almost forcing them to get rid of the Model, Miriam’s persecutor. Hawthorne’s narrator’s shockingly violent, harsh and seemingly anti-Semitic description of the ghetto in Rome is just one among many similarly ruthless, and at times offensive, accounts of the city wherein Hawthorne situates his last completed romance, The Marble Faun. Hawthorne’s two-year stay in Rome in 1858-59 sets the scene for his conception of The Marble Faun. In addition to providing Hawthorne with the extensive contact with art and artists that undoubtedly affected the choice of his protagonists (Kenyon, a sculptor; Hilda and Miriam, painters), Italy exposed Hawthorne to Jewish traditions and history, as well as to the life of Jews in the Roman ghetto. Most probably it also aroused his interest in some of the political affairs in which Italian Jews were involved in the 1840s and 50s. This historical background, especially the well-publicized abduction and conversion of a Jewish child, Edgardo Mortara, in 1858 provides important political and cultural background for Hawthorne’s portrayal of Miriam in The Marble Faun.
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Pedro, Julia Valeryevna. « Polytheism in the symbols of Roman Catacomb painting ». Voprosy kul'turologii (Issues of Cultural Studies), no 7 (5 juin 2012) : 38–42. http://dx.doi.org/10.33920/nik-01-1207-07.

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Taking into account such important features of the symbol as the variability of its meanings and the dependence of its use on the cultural context in which it was formed, the article examines the influence of pagan ideas on the most famous symbols of the catacombs of the early Christian period to date. The most interesting are the images of the cross, the monogram, the fish (Ίχθύς) and the dove, which read their connection with the ancient cults of Mesopotamia, Egypt and Greece. The problem of interpreting the symbols of Christian art and the study of the totality of the meanings inherent in it will help in the study of such an important component of religion as the phenomenon of double-belief.
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Thèses sur le sujet "Catacombs in art"

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Sutherland, Reita J. « Prayer and Piety : The Orans-Figure in the Christian Catacombs of Rome ». Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24259.

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The orans, although a gesture with a long ‘pagan’ past, was easily adopted by Christians for its symbolic meanings of prayer and piety and quickly attained a number of other more nuanced meanings as it was refined and reused. By restricting the scope of this thesis to the orans in the Christian catacombs of Rome, it becomes possible to approach the figure from a multi-directional perspective, not merely concerned with what the gesture meant to the Christian, but with its literary and material pedigrees, its transition to Christian art, and its cultural significance. To this end, chapter one examines ‘pagan’ precursors of the Christian orans through an examination of coins, sculptures, inscriptions, and reliefs, as well as by looking at the two figures whose appearance most influences that of the orans – the goddess Pietas, and the Artemisia-Adorans funerary portrait type. Chapter two addresses the importance of the orans in the Christian literary community, and examines not only the actual usage of prayer with raised hands by the Christian faithful, but also examines the aesthetic and theological reasons for the popularity of the gesture – the parallel between the spread arms of the orans and the posture of the crucified Christ. Finally, chapter three presents a spatial-thematic analysis of the usage of the orans in the Roman Christian catacombs, using a corpus of 158 orantes. This chapter enables the reader to draw conclusions about the veracity of the academic theories presented in the previous chapters, as it compares the usage of the orans against its scholarly interpretation.
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Ingle, Gabriela Elzbieta. « The significance of dining in Late Roman and Early Christian funerary rites and tomb decoration ». Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25949.

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The presented thesis examines dining practices associated with ancient funerary rites, and representations of meals that decorated Roman tombs. Evidence for dining, and its significance in mortuary rites, comes from various sources: from pagan, Christian and Jewish literary examples that describe funerary and commemorative events, and archaeological material of food remains and dining installations at the cemeteries, to pictures of meals depicted on different media: cinerary urns and altars, gravestones, frescoes, mosaics and sarcophagi. The aim of this thesis is to investigate available sources, focusing mainly on pictorial representations of late Roman and early Christian dining in order to assess the purpose of decorating the tombs with convivial images. The thesis begins with a discussion of how the Roman catacombs were used by early Christians, and how they were perceived by the post-sixteenth-century explorers and researchers. As our understanding of the development of the subterranean cemeteries has changed over the past centuries, so has our view of the late ancient societies and their funerary practices. Chapter 1 investigates both written and archaeological evidence for Roman funerary meals (silicernium and novemdiale) and commemorative rites during several festivals for the dead (e.g. parentalia0or0rosalia) performed by families and members of collegia. This Chapter also presents the development of the funerary Eucharist, and discusses evidence for early Christian funerary prayer. Chapter 2 focuses on memorials decorated with diners reclining on klinai, which were intended to represent the status of the deceased. Chapter 3 discusses painted collective meal scenes represented on stibadia, which are differentiated according to their interpretation: Elysian picnic scenes, images representing status of the deceased, or refrigeria (commemorative events) held by family and collegia. This section also includes an investigation into early Christian convivial images, which portray biblical stories and refrigeria. Chapter 4 presents convivial images from the catacomb of SS. Pietro e Marcellino, which provide evidence of a group of foreigners who migrated to Rome. Chapter 5, the final chapter, presents collective meal scenes on sarcophagi, which depict mythological events and picnic scenes reflecting elite villa life style. However, a small group of early Christian examples were also designed to portray honorary meals. In conclusion, the thesis provides evidence for shared funerary practices amongst different religious communities in the Roman world. Additionally, in the majority of cases the dining scenes focus on the representations of the deceased (their status or profession) rather than any particular religious affiliation; while both pagan and Christian images of refrigeria were designed to strengthen, or substituted for, actual commemorative rites.
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Marin, Françoise. « La catacombe de Santa Lucia de Syracuse : genèse et développement ». Paris 4, 2009. http://www.theses.fr/2009PA040019.

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La catacombe de Santa Lucia fait partie des principaux cimetières communautaires chrétiens de Syracuse. Elle est située au cœur du quartier d'Acradina et est reliée à un complexe ecclésiastique comprenant basilique, monastère et Eglise du Sépulcre. Elle est constituée de quatre Régions qui se développent en tache d'huile autour de la tombe sainte. Les Régions cimétériales (A, B, C, D) ont été aménagées successivement, les deux premières avant et les deux suivantes après la Paix de l'Eglise. Les Régions "A" et "B" ont été aménagées suivant les mêmes techniques architecturales. Les galeries sont installées dans les aqueducs, les tombes aménagées dans leurs parois et les agrandissements se font par approfondissements quasiment plus aucune trace de l'évolution topographique de la Région "D". Chacune de ces régions est dotée d'un oratoire. Le premier a été restauré à l'époque byzantine, date de la fresque des Quarante Martyrs. L'existence de l'oratoire "B" reste hypothétique. Les oratoires "C" et "D" ont été aménagés et restaurés aux époques byzantine, normande et moderne. Ce site archéologique méritait d'être connu et mis en valeur. Le travail de recherche a permis d'en retracer la genèse et le développement topographique et, par suite, de le resituer dans son contexte historique. La question des modalités de sa fabrication et de son utilisation cimétériale et culturelle ont également été abordées
The catacomb of Santa Lucia is a part of main Christian community cemeteries of Syracuse. She is situated in the heart of the district of Acradina and is connected with a basilica, a monastery and the Church of the Holy grave. She is constituted by four regions which develop in oily mark around the grave of Saint Lucie. Four regions (A,B,C,D) were successively fitted out, both first ones before and both following ones after the Peace of the Church. Regions A and B were fitted out according to the same architectural techniques. Galleries are installed in aquducts, graves fitted out their walls and the increases are made by deepening the grounds. The plan of the region C was preconceived: it obeys rules of a symmetry as the alternation cubiculi / loculi charactéristic of the site. Thereis almost no more track of the topographic evolution of the region D. Each of these regions is endowed with an oratory. The first one was restored in the Byzantine time (fresco of Forty Martyrs). The existence of the oratory B remains hypotetical. Oratories C and D were fitted be know to be known and emphasised. The research work allowed to redraw the genesis and the topographic development and as a consquence to re-place it in its historic context. The questions of the modalities of its funeral and religious use were also approached
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Buhagiar, Mario. « The christianisation of Malta : catacombs, cult centres and churches in Malta to 1530 / ». Oxford : Archaeopress, 2007. http://catalogue.bnf.fr/ark:/12148/cb41146227n.

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Guyon, Jean. « Le Cimetière aux Deux Lauriers : recherches sur les catacombes romaines / ». Rome : Paris : École française de Rome : Pontificio istituto di archeologia cristiana ; diff. de Boccard, 1987. http://catalogue.bnf.fr/ark:/12148/cb36626462r.

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Cappelletti, Sylvia. « The Jewish community of Rome : from the second century B.C. to the third century C.E. / ». Leiden : Brill, 2006. http://catalogue.bnf.fr/ark:/12148/cb402434025.

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Zibaoui, Mahmoud. « Peintures paléochrétiennes d'Egypte : Karmouz, Wardian, Abou-Girgeh, Abou-Hennis, Bagawat ». Paris 1, 2002. http://www.theses.fr/2002PA010565.

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Les vestiges de la peinture paléochrétienne funéraire d'Égypte se limitent à un ensemble réduits de décors. Détruites peu après leur découverte, les catacombes de Karmouz à Alexandrie présentaient un riche décor peint dont rien ne reste. A l'ouest de la ville, un tombeau découvert à Wardian offre des peintures qui étonnent par leur caractère mixte. Hors de la cité, le site de Kom Abou-Girgeh révélait un édifice chrétien dont les peintures en partie préservées sont aujourd'hui exposées au Musée gréco-romain. Bien plus loin, aux environs de l'antique Antinoé, derrière le village de Deyr Abou-Hennis, un édifice creusé dans les anciennes carrières conserve les restes d'un riche décor sauvagement mutilé. Au tréfonds du désert Libyque, les ruines du cimetière de Bagawat gardent encore des peintures d'une grande richesse iconographique. Réalisés à plusieurs époques, ces décors peints s'imposent comme les derniers témoins d'un patrimoine disparu et constituent un ensemble indispensable pour l'étude du premier art chrétien en Orient.
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VAROQUI, JACQUES. « Le temoignage iconographique sur le christianisme preconstantinien ». Université Marc Bloch (Strasbourg) (1971-2008), 1987. http://www.theses.fr/1987STR20025.

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Cette these situe l'art chretien des regions les plus anciennes des catacombes romaines de lucina, callixte, domitilla et priscilla, ainsi que celui du mausolee m de la necropole vaticane, celui du baptistere de doura-europos et des sarcophages, dans le contexte artistique global du troisieme siecle, l'evolution des techniques artistiques, la chronologie stylistique, le milieu psychosocial, philosophique, mystique et ecclesial. Elle propose une analyse semantique des representations figurees et des temoignages litteraires non chretiens et patristiques qui peuvent s'y rapporter. Sont abordees dans le souci de mettre en lumiere l'isomorphisme du sens et son adequation culturelle, les representations du fond traditionnel de l'iconographie romaine (paysages, guirlandes, vasques, couronnes et les allegories des saisons), l'apport novateur des images neotestamentaires (la mere a l'enfant, les mages, le bapteme du christ, les guerisons, lazare), l'apport novateur veterotestamentaire (adam et eve, noe, abraham, isaac, moise, daniel, la fournaise, suzanne), les stereotypes neoplatoniciens ideographiques (la colombe, le poisson, le navire, la lyre), anthropomorphes (l'orant, le criophore, le pedagogue), cultuels (les repas et les aliments sacres). L'apologue iconographique de jonas est traite a part. L'attention est portee sur les rapports analogiques, au niveau naturaliste et cosmologique, bio-physiologique et anthropologique, allegorique et christologique, et aux fonctions symboliques, allegoriques, metaphoriques ou paradigmatiques des images. Elle conclut par une synthese chronologique et iconologique sur la vision de l'univers, de l'homme et de dieu, ainsi que sur une evaluation methodologique et comporte une abondante illustration
This thesis locates the christian art in the oldest areas of the catacombs of lucina, callixt, domitilla and priscilla in rom, as well as that of the mausoleum m of the vatican necropolis, of the babtistery of dura-europos and the sacophages, in the global artistic context of the third century, in its technical and artistic evolution, its stylistic chronology, the psycho-social, philosophical, mystical and ecclesial area. It proposes a semantic analysis of the figurative representations and the non christian and patristic litterary signs that are connected to it. Concerned with bringing to light the isomorphism in sens and the cultural adequation, we study the traditional fund of roman iconography (landscapes, festoons, basins, crowns and the allegories of the seasons), the newness of the new testament representations (the mother and child, wise men, baptism of christ, healings, lazarus), the old testament representations (adam and eva, noah, abraham, isaac, moses, daniel, the furnace, suzanna), the neo-platonic stereotypes in its ideographical images (dove, fish, anchor, angler, lyre), its anthropomorphics (orant, criophorus, pedagogus), and its worship figures (meal and sacral aliments). The iconographic apolog of jonas is treated separately. A special attention is given to the analogical connections on a naturalistic and cosmological, bio-physiological and anthropological, mystagogical and chritological level, and to the symbolic, allegorical, metaphorical and paradigmatic functions of the representations. A chronological, iconological synthesis on art in its vision to universe, man and god as well as a methodological evaluation will conclude the thesis, which includes abondant illustrations
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Arango, Restrepo Luz. « El Alimento y la muerte en el ritual y las prácticas estéticas contemporáneas ». Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/460894.

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En un juego de contrapesos simbólicos, la muerte y el alimento se conjugan en el ritual de Día de Muertos y en cinco obras de artistas contemporáneos. Explorar este intersticio es el objetivo que nos hemos propuesto en esta investigación. En el ritual, indagamos sobre dos prácticas diferenciadas, la ofrenda en el altar para consumo de los muertos y el intercambio de cráneos de azúcar. En el arte contemporáneo, Joseph Beuys y Marina Abramović emplean el alimento y la materia orgánica como factores expresivos en unas obras que aspiran a vincular el ritual al arte. Además, Félix González-Torres y Jana Sterbak hacen uso de alimentos en sus trabajos, de manera que estos transfieren sus propiedades simbólicas a las obras. Todas las producciones artísticas y manifestaciones estéticas estudiadas dan una visión diferente de la muerte.
In a game of history counter opposition, death and food come together in the Día de Muertos [Day of the Dead] ritual and in five works of contemporary artists. The goal set for this research is to explore this intrinsic relationship. In the ritualistic portion of this research, we explore two separate practices: the offerings on the altar for the dead’s consumption and the exchange of sugar skulls. In contemporary art, Joseph Beuys and Marina Abramović use food and organic matter as expressive factors in works aspiring to tie the ritual to art itself. Furthermore, both Félix González-Torres and Jana Sterbak have used food in their works, thus transferring their symbolic properties to the works. Every work and aesthetic manifestations studied provides a different vision of death.
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Magill, Kelley Clark. « The catacombs, martyrdom, and the reform of art in Post-Tridentine Rome : picturing continuity with the Christian past ». Thesis, 2014. http://hdl.handle.net/2152/30321.

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The fortuitous discovery of early Christian images adorning the catacombs on Via Salaria in 1578 enabled scholars to address urgent, contemporary problems concerning the Catholic tradition of image veneration, which had been attacked by Protestant iconoclasts. Although the catacombs had been important devotional sites for the cult of martyrs and relics throughout the Middle Ages, the 1578 catacomb discovery was the first time that Romans connected the catacombs with the early Christian cult of images. Only after 1578 did scholars and antiquarians begin to collect and study early Christian frescoes and antiquities found in Rome’s numerous catacomb sites. Their research culminated in the publication of Antonio Bosio’s Roma sotterranea (1635), the first treatise on the Roman catacombs. After the Council of Trent (1545–1563), Catholic scholarship on the catacombs defended the early Christian origins of the cult of martyrs, relics, and images. I argue that the Tridentine Church’s claim of continuity motivated the study of early Christian art in the catacombs in the late sixteenth and early seventeenth centuries. By critically evaluating images and archeological sources to support an interpretation of the Church as semper eadem (ever the same), Bosio and his sixteenth-century predecessors contributed to the development of modern historical and archeological methods. This dissertation explores the juxtaposition of imaginative and analytical interpretations of the Roman catacombs in the late sixteenth and early seventeenth centuries. Early modern descriptions of the catacombs characterize these burial sites as emotive worship spaces for the early Church that evoked Christian suffering, martyrdom, and devotion to the cult of saints. I argue that the gruesome martyrdom imagery commissioned to decorate S. Stefano Rotondo and SS. Nereo e Achilleo in the last two decades of the sixteenth century imaginatively recreated what contemporaries thought early Christian worship would have been like in the catacombs. As the first in-depth study to consider the relationship between the exploration of the catacombs and the first large-scale martyrdom cycles in the late sixteenth century, this dissertation demonstrates how vivid pictorial imagination of the Christian past inspired the early Christian revival movement in post-Tridentine Rome.
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Livres sur le sujet "Catacombs in art"

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Wiesbaden, Museum, dir. Thomas Virnich : Fliegende Katakomben = flying catacombs. Nürnberg : Verlag für moderne Kunst Nürnberg, 2001.

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Judaism and Christian art : Aesthetic anxieties from the catacombs to colonialism. Philadelphia : University of Pennsylvania Press, 2011.

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Stützer, Herbert Alexander. Frühchristliche Kunst in Rom : Ursprung christlich-europäischer Kunst. Köln : DuMont, 1991.

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Cioffarelli, Ada. Guide to the catacombs of Rome and its surroundings. Roma : Bonsignori, 2000.

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Cioffarelli, Ada. Guide to the catacombs of Rome and its surroundings. Roma : Bonsignori, 2000.

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Society, International Catacomb, dir. Vaults of memory : Jewish and Christian imagery in the catacombs of Rome : an exhibition. Boston, Mass : International Catacomb Society, 1985.

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Fabrizio, Bisconti, et Mazzoleni Danilo, dir. The Christian catacombs of Rome : History, decoration, inscriptions. 3e éd. Regensburg : Schnell & Steiner, 2009.

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The Catacombs of San Gennaro : Historical and artistic guide. Napoli : Edizioni San Gennaro, 2019.

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Pergola, Philippe. Le catacombe romane : Storia e topografia. Roma : Carocci, 1999.

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Ferrua, Antonio. The unknown catacomb : A unique discovery of early Christian art. New Lanark : Geddes & Grosset, 1991.

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Chapitres de livres sur le sujet "Catacombs in art"

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Smith, Eric C. « Art and Heterotopia ». Dans Foucault’s Heterotopia in Christian Catacombs, 39–70. New York : Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137468048_5.

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Zimmermann, Norbert. « Catacombs and the Beginnings of Christian Tomb Decoration ». Dans A Companion to Roman Art, 452–70. Chichester, UK : John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886205.ch23.

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Siano, S., F. Fratini, M. Mascalchi, G. Patrizi et B. Mazzei. « CHAPTER 2. Study and Laser Uncovering of Hypogean Early Christian Wall Painting of Roma's Catacombs of Santa Tecla and Domitilla ». Dans Science and Art, 28–45. Cambridge : Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00028.

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Zimmermann, Norbert. « Catacomb Painting and the Rise of Christian Iconography in Funerary Art ». Dans The Routledge Handbook of Early Christian Art, 21–38. First [edition]. | New York : Routledge, 2018. : Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-2.

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Bondar, Kseniia M., Yurii Yu Bashkatov, Ruslan V. Khomenko, Serhii V. Didenko, Iryna V. Tsiupa et Serhii A. Popov. « Geophysical Survey in Support of Archaeological Rescue Excavations at Industrial Area of Kremenchuk Magnetic Anomaly in Ukraine ». Dans One World Archaeology, 463–82. Cham : Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-57900-4_18.

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AbstractThis study represents results of first archaeo-geophysical prospection at the area of Kremenchuk Magnetic Anomaly (Poltava region, Ukraine). Pre-excavation magnetometer survey, electrical resistivity tomography (ERT) and ground-penetrating radar (GPR) measurements were performed on archaeological sites which are planned to be destroyed in near future due to development of iron ore quarries and construction of mine sites. Investigated archaeological monuments comprise settlements and burial mounds—kurgans—dated to Bronze and Early Iron Age occupying relatively high terrains in the floodplain of the Dnieper River. Based on prospection results of 18 sites and excavation of 6 ones, we evaluate the advantages and limitations of geophysical methods in confirming conclusions of visual archaeological inspection and targeting subsequent archaeological work. The recognised restrictions for geophysical methods are caused by high-gradient geomagnetic field, airborne magnetic pollution of soils and variable subsoil substrate—loess and sands. The magnetometer survey revealed an anomaly related to the remains of a large mound (the Bondari kurgan) against a background of high-gradient geomagnetic field. Large depression near the kurgan suggested its dating to the Bronze Age proved by subsequent archaeological excavations. The magnetic topsoil masks weak anomalies related to subsurface archaeological features and produces bright plough effects visible on the results of the magnetometer surveys. This is why, no anomalies sourced by mound of kurgan were recognised using this geophysical technique at the east from Gorishn’oplavnivskyi quarry. However, circular ditches and collapsed catacomb burials proved to cause detectable disturbance in the magnetic field. GPR measurements aided to identify the real diameter of kurgans by tracing the reflection associated with the mound-submound interface at sandy soil area. ERT results helped to clarify the structure of the large Novoselivska Mohyla kurgan. Two stages of construction were suggested from the two interpreted mounds of different resistivity. Smaller high resistivity anomalies are associated to primary and inserted burials. Magnetic anomalies caused by dwellings were found on the Bronze Age settlements as well as magnetic trace of shallow feature that was not identified during the archaeological excavations. The obtained results aid a proper understanding of the appearance of archaeo-geophysical anomalies and facilitate applying geophysical methods for archaeological needs in the region.
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Oryshkevich, Irina. « Cultural History in the Catacombs : Early Christian Art and Macarius’s Hagioglypta * ». Dans Sacred History, 250–66. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199594795.003.0012.

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Whitlark, Jason A. « A Reception History of the Letter to the Hebrews ». Dans The Oxford Handbook of Hebrews and the Catholic Epistles, 321–46. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190904333.013.23.

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Abstract This essay considers four areas of Hebrews’ reception and influence among Christians from the second century through the post-Reformation period: how Hebrews was deployed in debates about apostasy and the readmittance of the lapsed in the patristic period and in the Reformed tradition; Hebrews’ influence on Christian speculation about Melchizedek, including the Greek Story of Melchizedek, the Syriac Cave of Treasures, and the ninth-century Palaea historica; various frameworks used to understand the humanity of Jesus in Hebrews, such as the two-nature Christology of Theodore of Mopsuestia and the exalted-human Christology of the Socinians; and art and literature that demonstrate engagement with Hebrews, such as art in Roman catacombs, the eucharistic art of San Vitale, Milton’s Paradise Lost, and Bunyan’s Pilgrim’s Progress. The reception history of Hebrews shows that it has intrigued interpreters, enriched the church’s theology, provided a source of robust hope, and made sometimes unsettling demands of covenant loyalty.
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Nicholson, Paul T., Steve Mills, Scott Williams et Hendrikje Nouwens. « THE CATACOMB ». Dans The Catacombs of Anubis at North Saqqara, 51–134. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv1vwbtfm.12.

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Finney, Paul Corby. « The Earliest Christian Art ». Dans The Invisible God, 146–274. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195082524.003.0006.

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Abstract At the beginning of the third century (circa 190/200–210/220) a small group of Roman Christians commissioned and oversaw the execution of fresco paintings for the walls and ceilings of ten underground burial chambers1 within a catacomb complex situated on the Appia Antica (Figure 6.1 no. 44) southeast of Rome and named after Callistus,2 an ex-slave who also was bishop of Rome in the years approximately 217 to 222. Most of the paintings in these rooms have perished. Of those that survive, a few illustrate biblical subjects inspired either by the Hebrew Bible or the Gospels.
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NICHOLSON, Paul T., et John P. HARRISON. « CREATING THE CATACOMB ». Dans The Catacombs of Anubis at North Saqqara, 39–50. Peeters Publishers, 2021. http://dx.doi.org/10.2307/j.ctv1vwbtfm.11.

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Actes de conférences sur le sujet "Catacombs in art"

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Tanasi, Davide, David Cardona, S. Hassam, K. Kingsland, Paolino Trapani, Dario Calderone, Lara De Giorgi et Giovanni Leucci. « Preliminary results from remote sensing surveying at the Abbattija tad-Dejr Catacombs (Rabat, Malta) ». Dans 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest : IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.050.

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Galone, Luciano, Sebastiano D'Amico, Emanuele Colica, Jonathan Borg et David Cardona. « Non-invasive investigation and digital reconstruction of a small catacomb complex in Rabat (Malta) ». Dans 2022 IMEKO TC4 International Conference on Metrology for Archaeology and Cultural Heritage. Budapest : IMEKO, 2023. http://dx.doi.org/10.21014/tc4-arc-2022.084.

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Dyachenko, Alexander. « AN �NTHROPOLOGICAL MARKER FOR MIGRATIONS IN CATACOMB CULTURE ARCHAEOLOGICAL COMPLEXES FROM THE LOWER VOLGA KURGAN CEMETERIES ». Dans 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s06.002.

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Суханов, Е. В. « POLISHED POTTERY OF THE NON-ALAN POPULATION OF THE SALTOVO-MAYAKI CULTURE FROM THE MIDDLE DON RIVER : SELF-PRODUCED OR IMPORTED WARES ? » Dans Вестник "История керамики". Crossref, 2020. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-316-9.79-90.

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Большинство погребальных памятников второй половины VIII – начала X в. на Среднем Дону представлено двумя типами объектов. К первому относятся катакомбные могильники, оставленные аланами. Ко второму типу относятся ямные могильники, которые нельзя связать с каким-то определенным раннесредневековым этническим объединением. Донские аланы, оставившие катакомбные могильники, существенно отличались от носителей ямного обряда своим происхождением, морфологическим обликом и хозяйственно-культурными традициями. Несмотря на эти различия, керамика катакомбных и ямных могильников Среднего Дона имеет много общего как в технологии, так и по морфологии. В статье исследуется вопрос о причинах этого сходства на примере лощеной столовой посуды, которая является одним из наиболее ярких «маркеров» салтово-маяцких древностей. Анализу подвергнуты археологические, антропологические, экспериментальные и этнографические данные. На основании результатов исследования высказано предположение, что население салтово-маяцкой культуры, оставившее на Среднем Дону ямные могильники, не имело собственного производства лощеной посуды, а использовало посуду, изготовленную аланскими гончарами. Institute of Archaeology of Russian Academy of Sciences, Moscow, Russia Most of funeral monuments from the second half of the 8th - beginning of the 10th century in the middle Don River are represented by two types of objects. The first type includes catacomb cemeteries left by the Alans. The second one consists of pit grave cemeteries which can’t be referred to any certain early medieval ethnic association. The Don Alans who left catacomb cemeteries differed significantly from the bearers of the pit grave tradition by their origin, morphological appearance and economical and cultural traditions. In spite of these differences the pottery of the catacomb and pit grave cemeteries in the middle Don River has a lot in common both in technology and morphology. The article analyses the issue of this similarity on the example of polished pottery which is one of the clearest markers of the Saltovo-Mayaki antiquities. The archaeological, anthropological, experimental and ethnographical data were scrutinized. Based on the results of the study it has been suggested that the population of the Saltovo-Mayaki culture which left pit grave cemeteries in the middle Don River didn’t have self-produced polished pottery, but used wares made by the Alan potters.
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N., Stepanova. « CENSERS OF THE EARLY BRONZE AGE FROM THE ALTAI MOUNTAINS ». Dans MODERN SOLUTIONS TO CURRENT PROBLEMS OF EURASIAN ARCHEOLOGY. Altai State Univercity, 2023. http://dx.doi.org/10.14258/msapea.2023.3.26.

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Incense burners belong to the category of rare finds. They were found in the burials of the Afanasievo culture, Kurotinsky and Pokrovsky types, less often in ritual constructions. Similar items were found in several settlements. Comparative analysis showed that the main differences relate to the design of the pallet (legs). Kurotinskiye differ from the afanasievskiye ones in the absence of handles and, as a rule, are not ornamented. Altai Afanasievo products are less diverse in the design of the pallet compared to the Yenisei ones. They also differ from the Okunevsky ones in the design of the pallet and the presence of handles. They also differ from similar products of ancient pit and catacomb cultures. In general, Afanasievo incense burners are characterized by trays with a recess, less often flat, and handles-ears.
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