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1
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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Tešić-Radovanović, Danijela. « Fish symbol and maritime motifs on late antique lamps from Central Balkans ». Zbornik radova Filozofskog fakulteta u Pristini 52, no 4 (2022) : 277–304. http://dx.doi.org/10.5937/zrffp52-41296.
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Elements of Christian visual culture appeared in various media in monumental and applied art during the late antique period, from painted decoration in the catacombs, through funerary monuments, to utilitarian objects such as jewellery and lamps. The paper analyses the symbolic meaning of fish and maritime motifs in the context of the late antique visual culture of the Mediterranean and their meaning within the Interpretatio Christiana, as well as the appearance of these motifs on late antique lamps. Ten lamps with maritime motifs or in the form of fish or dolphins are known from the territory of the Central Balkans. Elements of decoration are considered in relation to analogies, textual references, and the context of the finds.
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Arnold, Jeremy W. H. « Judaism and Christian Art : Aesthetic Anxieties from the Catacombs to Colonialism - Edited by Herbert L. Kessler and David Nirenberg ». Religious Studies Review 37, no 4 (décembre 2011) : 277. http://dx.doi.org/10.1111/j.1748-0922.2011.01557_4.x.
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Dmytrenko, Nataliia. « ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA ». Research and methodological works of the National Academy of Visual Arts and Architecture, no 28 (15 décembre 2019) : 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.
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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Last Supper", the main difficulties arise with the origin of the plot, and therefore, with the use of evangelical or synoptic sources for its interpretation by masters who created these works of art. Times of dating, works of the early Christian era over time transformed even more and changed in the context of the development of iconography with its artistic peculiarities. The placement of Christ's disciples during the conduct of the sacrament, their posture, clothing, symbolism and details of the conditional interior, which accompany each work deserve detailed examination, art-study analysis and scientific explanation.In the study of the Byzantine book miniature of the early Christian era, it appears necessary to determine which part of the text from the Holy Scripture is illustrated alongside the image of the "Last Supper" and which additional miniatures accompany it. Also, special attention deserves exceptional and rare in the number of works of decorative and applied arts, in which the plot was embodied. In addition, to consider the origin and development of the iconography of the "Last Supper", it appears necessary to analyse and distinguish the differences in the iconography of works.The material of the article is illustrated by the works of the monumental art of the Roman catacombs and exhibits from the collection of the Louvre Museum, the State Historical Museum in Moscow, the Archbishopric Treasury of the Rossano Cathedral and the miniatures of the Cambridge Library of the Corpus Christi College.
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Vargas, Michael. « Caves and Ritual in Medieval Europe AD 500–1500, ed. Knut Andreas Bergsvik and Marion Dowd (Oxford and Philadelphia : Oxbow Books, 2018 ; rpt. 2022), vi, 314 pages, color and b/w ill. » Mediaevistik 35, no 1 (1 janvier 2022) : 308–10. http://dx.doi.org/10.3726/med.2022.01.23.
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Abstract European medievalists know that in the past caves, cut-rock enclosures, and catacombs could become churches, places of monastic retreat, burial sites, and loci of saintly power. Perhaps too commonly, however, we have little memory of caves and their medieval uses inside Europe, recalling more easily the use of caves outside of Europe, for instance in Egypt or the Middle East, or on Europe’s periphery, as in Anatolia or the southern Iberian coast. One reason that so few examples come to mind of medieval Europeans putting caves to use has to do with archeological priorities. As the editors of this volume assert in page one of their opening remarks “cave archeology has become synonymous with the Paleolithic” and “of all archeological periods, it could be argued that the medieval usage of caves has been the most overlooked.” In this splendid collection of essays, twenty-four researchers, mostly archeologists but also historians, art historians, anthropologists and others, offer the successful beginnings of a remedy to the paucity of studies on the uses of caves and rock shelters in medieval Europe.
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Rudoe, Judy. « "Reproductions of the Christian Glass of the Catacombs" : James Jackson Jarves and the Revival of the Art of Glass in Venice ». Metropolitan Museum Journal 37 (janvier 2002) : 305–14. http://dx.doi.org/10.2307/1513097.
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Hnidyk, Iryna. « ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME ». Ethnic History of European Nations, no 68 (2022) : 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.
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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the technique of encaustic, tempera, and later in oil painting. Many images of the Mother of God in Rome represent the original samples of the Byzantine style of icon painting of various origins and the works of masters of the Italian artistic environment at the intersection of Western and Eastern artistic styles. A significant number of these icons are crowned and have the status of miraculous. Some of the most ancient and famous icons of the Mother of God in Rome are «Salus Populi Romani», «Madonna del Conforto», «Madonna Avvocata», «Madonna della Clemenza», «Madre del Perpetuo Soccorso», «Santa Maria del Popolo», «Madonna della Catena», «La Madonna dei Martiri» and others. Common iconographic types are Hodegetria, Agiosoritissa, Kyriotissa, Galaktotrofusa, etc. Often, these icons have several Italian-language names, which must be considered when choosing methodological tools for historiographical analysis. The article provides a general overview of the heritage of the icons of the Mother of God in Rome based on the most famous of them. English-language and Italian-language historiography was analyzed to model further relevant research directions in developing this topic by modern specialists in an interdisciplinary context. It is emphasized that in the churches of Rome, there are still many less-known and less-researched icons of the Mother of God, particularly in terms of stylistic features and painting techniques. Their detailed study and analysis of sources can effectively fill this niche in historiography and become an interesting topic for modern interdisciplinary research in the field of history, icon painting, art, restoration, and cultural heritage, as well as the basis of original concepts for exhibitions, photo catalogs, new excursion routes, etc.
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Prylipko, Iryna. « The ‘One’s own — Alien’ conflict in Lesia Ukrainka’s dramaturgy : ethnic-national and worldview aspects ». Слово і Час, no 1 (2 février 2021) : 22–38. http://dx.doi.org/10.33608/0236-1477.2021.01.22-38.
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The paper focuses on the specific features of the ‘One’s own — Alien’ conflict in the dramatic works by Lesia Ukrainka. The majority of her dramas and dramatic poems were written on the basis of foreign cultural phenomena, including the Ancient Greek, Biblical, and other topoi and images. Foreign cultural realities are aimed at the actualization of both the entire context of Ukraine and the writer’s autobiographic discourse in a recipient’s consciousness, forming the imagological paradigms ‘One’s own — Alien,’ ‘Me — Another’. Upon involving the imagological theories, the author of the paper traces the development of dialogue between various cultural realities in Lesia Ukrainka’s dramatic works. This allowed elucidating the peculiarities in the artistic representation of the exotic topoi of different countries as the significant feature of Neoromantic and, in general, Modernist discourses, which were basic for Lesia Ukrainka’s writing. The textual analysis of Lesia Ukrainka’s dramas reveals the specific features of unfolding the ‘One’s own — Alien’ conflict, first of all, on the ethnic-mental level, epitomized in the ‘conquered — conqueror’ collision of the plays “Babylonian Captivity”, “Over the Ruins”, “Orgy” and “Boiarynia”. The other dimension is the worldview and religious level, mostly realized through the collision ‘Antiquity — Christianity’ (“In the Catacombs”, “Rufinus and Priscilla”, “Martian the Lawyer”, and others). It is proved that the ‘One’s own — Alien’ conflict deepens the problems of the works and serves as a way to reveal the essential characteristics of the heroes. The paradigm of the mentioned conflict highlights the borders of the national and personal identities, emphasizes axiological concepts and active ideas, fundamental for Lesia Ukrainka’s dramatic works, such as the tragedy of misunderstanding, the need for constructive dialogue, the necessity of choice, the search for spiritual and national freedom, the meaning of sacrifice, and the role of art.
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Fialko, O. Ye. « «AND GIRLS AMAZONS ACCUSTOMED TO ARMS, HORSES AND HUNTING…» ». Archaeology and Early History of Ukraine 36, no 3 (14 mai 2020) : 347–59. http://dx.doi.org/10.37445/adiu.2020.03.22.
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According to ancient authors Amazons treated their new-borns differently. They usually gave the boys to their fathers. At the same time, they raised the girls themselves. Moreover, the girls since childhood were taught martial art and hunting. That is, first of all they were taught archery and horseback riding. Based on these data, we drew attention to the Scythian girls’ graves with weapons.
17 such burials of girls are known today in the area of European Scythia. They are fixed on the territory of the Steppe Dnieper Region, Crimea, Transnistria and Don Region.
All children’s graves are individual except for one (with a teenager-servant). Only two of them were robbed in antiquity.
All graves (with one exception) were excavated in the kurhans. An analysis of the types of burial structures showed that undercut graves and catacombs predominate. Simple pits are represented by only two cases. The spread of these types of graves on different regions coincides with the same graves of adult Amazons.
All burials were made according to the rite of inhumation. The western orientation of the dead is predominant. In general, burial sites, rites and anthropological types of Amazons are identical to those recorded for the population of European Scythia.
Material support is divided in three main groups: 1) universal (meat meals with a knife and utensils); 2) Female (spindles with spinners, earrings, necklace, bracelets, rings, stone dishes); 3) Male (weapons, horse bridles, hryvnias). The combination of the components of these kits has usually marked the burial of the Amazons. The nature of the weapon shows that it was intended primarily for the remote combat.
The evidence of social stratification is, first of all, the size of burial structures and the composition of material support. According to these indicators, three social groups are distinguished in the Amazon girls’ environment.
The chronological range of the burial complexes of girls with weapons is determined from the end of the 5th to 3—2 centuries BC. However, the main group of these tombs is dated 4th century B.C.
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Even, Yael. « Herbert L. Kessler and David Nirenberg, eds. Judaism and Christian Art : Aesthetic Anxieties from the Catacombs to Colonialism. Philadelphia : University of Pennsylvania Press, 2011. xii + 442 pp. index. illus. tbls. $69.95. ISBN : 978–0–8122–4285–0. » Renaissance Quarterly 64, no 3 (2011) : 916–17. http://dx.doi.org/10.1086/662877.
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Osborne, J. « The Roman Catacombs in the Middle Ages ». Papers of the British School at Rome 53 (novembre 1985) : 278–328. http://dx.doi.org/10.1017/s0068246200011569.
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LE CATACOMBE ROMANE NEL MEDIO EVOL'uso medievale delle catacombe romane può essere diviso in tre periodi distinti sulla base della loro funzione. Dal tempo di Costantino fino alla metà del VI secolo, le catacombe venivano usate principalmente come luogo di sepoltura. Dopo l'interruzione di questa pratica causata dalle guerre gotiche, le catacombe continuarono ad essere mantenute dalla chiesa romana e ad essere visitate dai pellegrini che si recavano a Roma, ma soltanto per venerare le reliquie dei primi santi e dei martiri che esse contenevano. Dopo la seconda metà dell'VIII secolo, quando tutte le reliquie importanti cominciarono ad essere trasferite in chiese più sicure dentro la città, l'interesse per le catacombe diminuì in modo significativo, sebbene alcune fossero conosciute a continuassero ad essere visitate fino alla fine del Medio Evo. Vengono qui esaminate le decorazioni murali aggiunte alle varie catacombe durante il periodo c. 500–1300, e si sostiene che anche queste possano essere divise in tre gruppi cronologici secondo la loro funzione.
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Lushchyk, M., V. Mokryy, Ya Moscvyak et L. Teodorovych. « ASSESSMENT OF THE TOURIST ATTRACTIVENESS OF GLOBAL GEOPARKS IN EUROPE ». Visnyk of Taras Shevchenko National University of Kyiv. Geology, no 3(98) (2022) : 15–22. http://dx.doi.org/10.17721/1728-2713.98.02.
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The article provides an inventory of geoparks from the list of the UNESCO Global Geoparks Network. It is noted that geoparks as important tourist attractions have been the subject of scientific attention of many authors, but the data presented in these publications are outdated and can not claim to be relevant to the current state of the geoparks network, as it is quite dynamic and changes every year. The research of the chosen topic in the scientific domestic and foreign literature is characterized. The insufficiency of the tourism research of the UNESCO geoparks system is pointed out. The structural-territorial analysis of the distribution of objects is performed: absolute and relative indicators of the number of objects by macroregions are established. A cartographic model of the distribution of objects on the planet is presented. Monitoring of a specific set of geotourism attractions within each of the geoparks is done taking into account the following thematic types: geological and geomorphological (geological and geomorphological formations - the mountains, intermountain basins and gorges, craters and cones of volcanoes, river valleys, deltas and canyons, lakes, waterfalls, sea coasts, deserts and aeolian, glaciers and glacial, karst and pseudo-karst landforms, geological forms and phenomena - the minerals, rocks, structural and tectonic formations, paleontological fossils, geothermal phenomena; geological and geomorphological processes - volcanic eruptions, geyser explosions, avalanches, coastal processes on sea and lake coasts, melting glaciers, dune movements, erosion processes); industrial (the open and underground mine workings, clay and sand quarries, pits, exploratory shafts, drain lines, rock dumps, tunnels, catacombs, surface and underground military objects, engineering and geological activities, construction of tunnels, construction of roads and highways, use of geothermal water); cultural and cognitive (works of material culture are different buildings made of natural materials and the elements of their arrangement, stone pyramids, rock cities and temples, the stone artefacts, the stone elements of urban infrastructure, the works of art, jewellery, museum and other expositions, open-air expositions, such places of fossils, supporting stratigraphic sections, places of minerals and rocks location); tourist and infrastructural attractions (availability of the geopark for the access by several types of transport, several tourist accommodation options, currency exchange offices, recreation facilities, parking lots, places for tents; Tourist Information Centres; marked tourist routes for the needs of several types of tourism (cycling, green-, caving, water- tourism); marking of tourist attractions (information stands. Information support of tourism (creating internet portals of the geopark, mobile applications); accessibility of the geopark to the inclusive tourists). According to the indicators of occupancy of various thematic blocks, geoparks were ranked according to the scale of levels of attractiveness.
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Buhagiar, Mario. « The Jewish Catacombs of Roman Melite ». Antiquaries Journal 91 (5 août 2011) : 73–100. http://dx.doi.org/10.1017/s0003581511000126.
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AbstractThe Roman city of Melite, on the central Mediterranean archipelago of Malta, had, in common with other provincial outposts of the Empire, a diaspora Jewish colony for which there is testimony in six hypogea that prominently display the seven-branched Menorah. There is apparent evidence for a religious, and perhaps administrative, set-up in a Greek inscription that marks the burial place of a gerousiarch and lover of the ‘commandments’ who could have been the head of a Council of Elders in the synagogue of the city, and of his wife, Eulogia ‘the Elder’. The title presbytera used in the text has a special significance and suggests that husband and wife held prestigious posts in the running of the colony. A second inscription incorporates the seven-branched Menorah and commemorates another woman, named Dionisia, who was known by the ritualistic name ‘Irene’. Two other texts appear to be simple farewell messages but are of interest because they are accompanied by a stylized painted Menorah and a boldly incised sailing vessel that has the appearance of a Roman ship. The paper takes a close look at these and other archaeological material related to Jewish presence and influence in Malta. The hypogea are discussed in the context of the Maltese culture of rock-cut burials, starting in the prehistoric period and finding special significance as the prototype influence on the Romano-Punic tomb.
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Nicholson, Paul T., Salima Ikram et Steve Mills. « The Catacombs of Anubis at North Saqqara ». Antiquity 89, no 345 (juin 2015) : 645–61. http://dx.doi.org/10.15184/aqy.2014.53.
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Shevchuk, B. M. « «Pictures at an Exhibition» by Modest Mussorgsky : the correlation of melos and colourfulness ». Aspects of Historical Musicology 18, no 18 (28 décembre 2019) : 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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Felle, Antonio Enrico. « Recenti acquisizioni epigrafiche da catacombe romane ». Mélanges de l’École française de Rome. Antiquité 106, no 1 (1994) : 43–69. http://dx.doi.org/10.3406/mefr.1994.1839.
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Amine, Laila. « Africa in William Demby's The Catacombs and Love Story Black ». African American Review 55, no 2-3 (juin 2022) : 163–78. http://dx.doi.org/10.1353/afa.2022.0020.
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Moffitt, John F. « Balaam or Isaiah in the catacomb of Priscilla ? » Konsthistorisk Tidskrift/Journal of Art History 66, no 1 (janvier 1997) : 77–87. http://dx.doi.org/10.1080/00233609708604424.
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Shishlina, N. I., D. S. Kovalev et E. R. Ibragimova. « Catacomb culture wagons of the Eurasian steppes ». Antiquity 88, no 340 (1 juin 2014) : 378–94. http://dx.doi.org/10.1017/s0003598x00101061.
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The origin and development of wheeled vehicles continues to fascinate today no less than when Stuart Piggott (1974) first wrote about the subject inAntiquity40 years ago. A growing number of examples from the steppes of southern Russia and Ukraine are providing new insights into the design and construction of these complex artefacts. A recent example from the Ulan IV burial mound illustrates the techniques employed and the mastery of materials, with careful selection of the kinds of wood used for the wheels, axles and other elements. Stable isotope analysis of the individual interred in this grave showed that he had travelled widely, emphasising the mobility of steppe populations.
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Trematerra, Amelia, et Gino Iannace. « The acoustics of the catacombs of “San Callisto” in Rome ». Journal of the Acoustical Society of America 134, no 5 (novembre 2013) : 3970. http://dx.doi.org/10.1121/1.4830465.
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Cvetković, Branislav. « Zaglavlje Dekaloga u Hvalovom zborniku : prilog semantici srednjovjekovne iluminacije ». Ars Adriatica, no 4 (1 janvier 2014) : 155. http://dx.doi.org/10.15291/ars.493.
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This article is dedicated to the interpretation of the header before the text of the Ten Commandments on fol. 150 of the Hval Codex. The author is drawing attention to a gloss in the margin to the left of the banner which has not been addressed in the earlier scholarly literature nor recorded in the facsimile transcription of 1986. The rectangular banner consists of a lozenge net filled with gold lilies while three gold interlace crosses of a complex shape are placed on top of the banner. The gloss next to it was written in blue ink as an abbreviated word under a line. It is a rather common abbreviation from the nomina sacra category (God). The significance of this hitherto-overlooked gloss is extraordinary. It was written in the same manner which was used for adding legends to miniatures or headers in order to clarify images in medieval illuminated manuscripts. Hval wrote similar notes in several margins of this manuscript.The location of the gloss itself points to its function as an explanation of the banner before the words which the Lord communicated to Moses on Mount Sinai. That the text of the Ten Commandments was significant in Bosnian illuminated manuscripts is also attested to by the header before the Ten Commandments in a Venetian miscellany codex, which depicts the narrative scene of the theophany on Sinai while, at the same time, containing a fairly long inscription which clarifies the image. Similar textual clues appear in the Dobrejšovo Evangelie, the most important of which is the one positioned next to the Synaxarion header where the inscription, “this is heaven which is also called paradise”, explains the scene. In the context of such examples, this article discusses analogous material from illuminated manuscripts and monumental painting alike by applying a new approach to the study of function of medieval ornament, while also highlighting the problem of the etymology of the notion of ornament in different languages. The findings resulting from this research show that the function of ornament in a religious context was not just decorative, but that it was used to mark the holiness of a space, that is, the presence of the divinity, which is a phenomenon witnessed in illuminated manuscripts, wall paintings, icons and reliquaries.H. Kessler’s research into Judeo-Christian symbol-paradigms confirms the essential importance of the depiction of the Old Testament tabernacle in the manuscripts of the Christian Topography as a source of ornamental motifs. They can be grouped into a relatively narrow set of symbols, always included in a structural system: star-shaped schemes, fields of flowers, interlace and lozenge nets as well as chequers. Their origin is found in the coffered vaults of classical tombs and temples where they represented the sky and Elysium. They were transported to medieval art through identical motifs which were painted in the catacombs and early Christian basilicas. It is these exampes that constitute a formal template for the header to the Ten Commandments in the Hval Codex the meaning of which is, therefore, a symbolic depiction of the Word, Logos, as the source of God’s Ten Commandments, which is why the banner was marked with a corresponding gloss.The article also pays attention to an unusual illumination in the Gospels of Jakov of Serres because it also witnesses that a grid with floral motifs possessed a special meaning to educated medieval men. The portion above the head of Metropolitan Jakov, formed by a band of a lozenge net with flowers, has been described in the scholarship only as decorative, that is, as forming a floral background, but, given that its position and shape both conform to signifiers of heavenly kingdom in Byzantine manuscripts of the Christian Topography, it is erroneous to interpret it only as a floral background and a mere ornament. In this case too, the lozenge field filled with flowers denotes the Empire of God to which Jakov directs his prayers. Therefore, when one studies ornament in a religious context, it is necessary to use a more precise language, one which is rooted in the manuscript material itself. A concrete evidence for such a practice can also be seen in the colophon of this manuscript because the scribe who wrote it compared all of the decoration in the codex to the starry sky of a theological rather than actual kind.Other notes in the Hval Codex margins are also mentioned in the article. Some of these record the name of the manuscript’s commissioner who was addressed out of respect as uram (Hungarian for “my sire and master”): Hrvoje Vukčić Hrvatinić, Grand Duke of Bosnia and a Herzog of Split. The article emphasizes the need to study more closely the location of glosses and all other marginal notes within the codex, and highlights the fact that the two notes recording the name of the patron were placed next to the Gospel sections describing Christ’s healing miracles which, generally speaking, figure prominently in Christian art and exegesis. Furthermore, the article also analyzes the previously-unpublished illumination which depicts Moses in front of the Burning Bush, the branches of which were rendered as interlace ornament resembling a labyrinth. The rendition of the Burning Bush as interlace stemming from the floral frame of the header is a unique example which demonstrates that medieval art did not consider ornament as a meaningless arabesque but that it frequently functioned as a signifier.
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Croci, Chiara. « Reused From Banquet to Grave : Gold Glass, a “Popular” Medium in Late Antiquity ? » Eikon / Imago 11 (1 mars 2022) : 47–55. http://dx.doi.org/10.5209/eiko.78845.
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Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmatic objects. Originally conceived as vessels, once they were broken, their bases were reemployed to be embedded in the mortar sealing of the slabs of certain loculi. Drawing on the different hypotheses on the origins of the bowls or glasses these bottoms were obtained from, and reflecting on the reasons for and ways of using these glass bottoms to decorate loculi, this paper aims to reassess the position of gold glass in the culture of late antiquity by questioning its pertinence or link to "popular" culture.
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Cardona, David. « I. ABTEILUNG - Excavations at St. Paul’s Catacombs : New Evidence at an Old Site ». Mitteilungen zur Christlichen Archäologie 25 (2019) : 9–41. http://dx.doi.org/10.1553/micha25s9.
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Kozintsev, A. G. « Okunev Culture and the Dene-Caucasian Macrofamily ». Archaeology, Ethnology & ; Anthropology of Eurasia 51, no 2 (13 juillet 2023) : 66–73. http://dx.doi.org/10.17746/1563-0110.2023.51.2.066-073.
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The article discusses the linguistic affi liation of the Okunev people. Arguments are cited favoring the idea that they spoke a Dene-Caucasian language belonging to the Yeniseian branch. This is indirectly evidenced by genetic and cultural ties between Okunev ancestors and Native Americans, by parallels to Okunev art in prehistoric China and on the northwestern coast of North America, and by Okunev type petroglyphs in northern Kashmir, where, in addition, a linguistic isolate is preserved—Burushaski, a language related to Yeniseian. Being a relict population, which remained in the place from where the Dene-Caucasian speaking tribes had migrated in various directions, Okunevans may have been ancestors of Yeniseians (another contender is the Karasuk population, whose ties with Okunevans remain to be established), as well as collateral relatives of Na-Dene, Sino-Tibetans, and other Dene- Caucasians. Alternative proposals, such as a Uralic, specifi cally Samoyed affi liation of the Okunev language, are less probable for several reasons. The idea that this language was Indo-Iranian, which almost necessarily follows from the hypothesis that the key role in Okunev origins was played by Yamnaya-Catacomb tribes, is quite unlikely. This idea is much more plausible with regard to Chaa-Khol people of Tuva, who display marked cranial affi nities with a number of Yamnaya and Catacomb groups and with Scythians of the Pontic steppes. Okunevans proper show no such affi nities.
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Griesheimer, Marc. « Genèse et développement de la catacombe Saint-Jean à Syracuse ». Mélanges de l’École française de Rome. Antiquité 101, no 2 (1989) : 751–82. http://dx.doi.org/10.3406/mefr.1989.1648.
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Carletti, Carlo. « Nuove iscrizioni dalla catacomba della ex vigna Chiaraviglio sulla via Appia ». Mélanges de l’École française de Rome. Antiquité 106, no 1 (1994) : 29–41. http://dx.doi.org/10.3406/mefr.1994.1838.
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Handl, András. « From Slave to Bishop. Callixtus’ Early Ecclesial Career and Mechanisms of Clerical Promotion ». Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 25, no 1 (1 juillet 2021) : 53–73. http://dx.doi.org/10.1515/zac-2021-0013.
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Abstract Bishop Callixtus I of Rome (217?–222?) is well known for his position as manager of the κοιμητήριον, the earliest subterranean community burial ground, today known as the Catacombs of Callixtus. Less well documented, but particularly formative is, however, Callixtus’ early ecclesial career starting with his recognition as an authentic confessor shortly after his return from the mines of Sardinia. This contribution aims to shed some light on this formative period and explores the mechanisms behind Callixtus’ promotion to paid ecclesial ministry. It argues that Callixtus’ association with the clergy was neither an honorary, that is, automatic admission, nor merely a pious act to honour his individual and spiritual achievement. It seems, it was also a powerful instrument to financially support, integrate, and if necessary, control independent spiritual authorities. Moreover, Callixtus’ installation in active ministry, as well as that of other confessors, show typical patterns of client-patron relationship.
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Galeyev, Bulat M. « "Prometei" in the Stalin Catacombs : Festival of Light, Prague, CSFR, 28 July-4 August 1991 ». Leonardo 27, no 5 (1994) : 440. http://dx.doi.org/10.2307/1576105.
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Halawa, Angilata Kebenaran, David Eko Setiawan, Alton Perejon Tahya et Andhy Readhy Sitanala. « Suatu Refleksi Teologis : Memaknai Karya Seni Catacomb Dan Implikasi Bagi Pembinaan Warga Gereja ». Kharisma : Jurnal Ilmiah Teologi 2, no 2 (28 décembre 2021) : 107–23. http://dx.doi.org/10.54553/kharisma.v2i2.65.
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Jemaat dalam sebuh gereja membutuhkan pembinaan. Pembinaan Warga Gereja ialah suatu usaha atau tindakan pengorganisasian warga gereja, untuk melengkapi dan melatih warga jemaat agar iman kepada Yesus Kristus bertumbuh. gereja perlu membina jemaat agar semakin bertumbuh di dalam Kristus melalui berbagai bentuk. Seperti halnya, orang Kristen mula-mula, mereka menginspirasi diri mereka melalui lukisan didalam Catacomb atau sebuah Lorong yang dijadikan sebagai tempat orang yang sudah meninggal. Mereka menginspirasi diri mereka melalui lukisan-lukisan yang ada di dalam salah satu koleksi Kristen mula-mula, yaitu kubikula sakramen. Lukisan mengenai Yunus, Yesus dan Samaria, Yesus Gembala yang baik dan sebagainya. Dengan demikian, model ini dapat dijadikan saran untuk pembinaan warga gereja melalui luksian-lukisan yang menginspirasi dan menguatkan iman.The congregation in a church needs formation. Community Development of the Church is an effort or act of organizing church members, to equip and train members of the congregation so that their faith in Jesus Christ grows. the church needs to nurture the congregation to grow in Christ through various forms. Like the early Christians, they inspired themselves through a painting in a Catacomb or a hallway that was used as a place for the dead. They inspire themselves through the paintings in one of the early Christian collections, namely the sacrament cubicle. Paintings of Jonah, Jesus and Samaria, Jesus the Good Shepherd and so on. Thus, this model can be used as a suggestion for the formation of church members through paintings that inspire and strengthen faith.
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Williamson, Paul. « Notes on the Wall-Paintings in Sant'urbano alla Caffarella, Rome ». Papers of the British School at Rome 55 (novembre 1987) : 224–28. http://dx.doi.org/10.1017/s0068246200009016.
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NOTE SUGLI AFFRESCHI MURALI DI SANT'URBANO ALLA CAFFARELLA A ROMANella prima parte di questo articolo, viene presa in esame una copia ad acquerello della scena della Crocefissione nella chiesa di Sant'Urbano alia Caffarella, conservata nella Biblioteca Vaticana, cod. Barb. lat. 4402. A seguito di questo studio viene proposto di mettere in discussione la data tradizionalmente accettata per quel dipinto (1011). Viene suggerito che una data più probabile per i dipinti sia la fine dell'XI secolo. Nella seconda parte dell'articolo viene spiegata una scena che non era mai stata identificata—essa mostra il martirio di Papa Sisto II e dei suoi due diaconi e tre sottodiaconi—e viene valutato il suo significato. Viene supposta una connessione tra Sant'Urbano alia Caffarella e la Catacomba di Praetextatus.
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GIULIANI, Raffaella. « Scene di mestiere nelle catacombe. Il restauro del cubicolo dei Bottai nel cimitero di Priscilla ». Mitteilungen zur Christlichen Archäologie 1, no 9 (2005) : 7–18. http://dx.doi.org/10.1553/micha9s7.
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Mastykova, Anna. « About Bracelets with Zoomorphic Ends from Dzhurga-Oba Necropolis in Eastern Crimea (Great Migration Period) ». Nizhnevolzhskiy Arheologicheskiy Vestnik, no 2 (décembre 2019) : 169–80. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.11.
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The paper considers burial 40 of Dzhurga Oba necropolis in the Eastern Crimea. Two bracelets, elements of a prestigious female costume of the second half of the 5th century and weapons (sword elements) were found in the catacomb. It is possible that there were two inhumations – male and female ones. Two bronze gilded bracelets from this burial have gold zoomorphic endings in the form of heads, usually interpreted as dragons, and a hinged lock in the form of a disk. The origins of this type of bracelets should be sought in the traditions of Mediterranean jewelry art. Bracelets with a lock in the form of a plate on hinges appeared in the Mediterranean in the 2nd – 3rd centuries and existed until the 7th century (inclusive). It should be noted that there is a noticeable Byzantine / Mediterranean component in the female costume from Dzhurga Oba, which is represented primarily by the cloisonne inlay style jewelry – earrings, rings, bracelets. At the same time, the presence of a pair of brooches from the East German tradition indicates the mixed character of the female prestigious costume from Dzhurga-Oba, which is typical for the Cimmerian Bosporus of the Great Migration Period.
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Fadieieva, Kateryna, et Serhii Pustovalov. « Similarity and Early Development of Musical Art For Archeological Materials ». Ukrainian musicology 49 (30 juin 2023) : 89–99. http://dx.doi.org/10.31318/0130-5298.2023.49.298984.
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Musical art has always been an important part of human culture. Primitive archeology in Ukraine has almost never been the subject of such research. The purpose of the article is to review the data available in archeology, primarily in Ukraine. Historical, retrospective and comparative methods are used, as well as the method of analogies and the main provisions of music theory.
In the process of socioanthropogenesis, the so-called Neanderthals (Homo Sapiens) attract attention. It is they, who have parts of the brain responsible for labor activity and language. This is impossible without the formation of a high larynx. The prerequisites for musical activity appear about 150 thousand years ago. At the end of the Muster era, the first artificial musical instruments appeared (Divier-Babe, Geissenklosterle, KhokhleFels, Vogelherd, Isturitz, Molodovo I and V, Attacks I).
The design of the flute from the Molodovo site allowed the use of the embushure technique. At the Mezin site in the Chernihiv region, mammoth bones painted with ocher, were found, which made up an ensemble of percussion instruments. A number of "Pan flutes" come from Bronze Age monuments. Their sets include from 2 to 7 bone tubes. Five-sound (5-pipe) flutes reproduce the pentatonic scale. A peculiar musical instrument such as a bagpipe was found in a mound near the village. Vinogradnoye, Tokmaksky district, Zaporozhye region.
Hammer-shaped pins are found in pit and catacomb burials. They are sometimes found together with bronze hemispheres. The hemispheres can be interpreted as images of calls. The sound of metal bells on the piano reproduces light-ringing sounds, and on the forte - brilliant, radiant, brilliant sounds. This could be associated with the natural phenomenon of falling drops of water, sparkling and reflecting the rays of the sun in the water (rain-making rites).An interesting medieval string instrument, was discovered during the work of the Krasnoznamensk expedition of the Institute of Archeology of the National Academy of Sciences of Ukraine. From the very beginning, music had not only industrial, but also religious significance, manifested in the ethics and aesthetics of ancient society. In the musical traditions of the ancient population of Ukraine, both eastern pentotonic traditions and southern ones, inherent in the societies of the Middle East or the Near East, can be traced. Many musical instruments begin to take shape much earlier than previously thought.
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Rebillard, Éric. « L'Église de Rome et le développement des catacombes. À propos de l'origine des cimetières chrétiens ». Mélanges de l’École française de Rome. Antiquité 109, no 2 (1997) : 741–63. http://dx.doi.org/10.3406/mefr.1997.2003.
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Ahlqvist, Agneta. « Maria, madre di Cristo, e altri madri presenti nell'arte funeraria paleocristian ». Acta ad archaeologiam et artium historiam pertinentia 21 (21 septembre 2017) : 9–31. http://dx.doi.org/10.5617/acta.5529.
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Le prime scene nell’arte funeraria paleocristiana che comprendono la figura della Vergine sono “La Natività di Gesù” e “L’Adorazione dei magi”. Raccontano episodi della storia d’infanzia di Gesù e appaiono a partire dal quarto secolo. La scena “Mater Christi con Bambino in grembo”, solenne, rappresentativa e soprattutto narrativa, non appare nelle catacombe prima del sesto secolo. Le prime figure erroneamente identificate come Maria Vergine, datate al terzo-quarto secolo, sono semplicemente raffigurazioni di donne defunte, madri e/o mogli, seppellite nelle tombe. In concordanza con la consuetudine di commemorare il defunto tramite vari episodi del suo iter terrestre fu ricordata anche la maternità, prima nel mondo pagano e poi in quello cristiano. L’iconografia funeraria paleocristiana non si basa in questo caso sul repertorio iconografico della Chiesa ma più largamente sulla diffusissima tradizione iconografica greco-romana. Non c’era bisogno questa volta di attendere la diffusione di un motivo prescritto dalla Chiesa.
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Cumbo, Cristina, et Valentina Angela Cumbo. « Tra antico e contemporaneo : la simbologia paleocristiana alla base della progettazione architettonica degli edifici di culto ». De Medio Aevo Avance en línea (12 juillet 2023) : 1–25. http://dx.doi.org/10.5209/dmae.87611.
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Le ultime grandi trasformazioni subite dalla città di Roma hanno visto il profondo mutamento del paesaggio urbano che ha abbandonato l’aspetto rurale per accogliere, in particolar modo nelle aree denominate in passato “borgate”, la tipologia edilizia della palazzina. Nell’ambito di questo procedimento, vengono introdotte le parrocchie le cui caratteristiche architettoniche e artistiche si rifanno, in molti casi, all’antichità paleocristiana e medievale. Attraverso l’esame di sei casi esemplari collocati nei quartieri Prati, Aurelio, Corviale, Parioli e Trieste si vogliono sottolineare innovazioni contemporanee e riprese in chiave passata, aprendo una breve parentesi sui principi introdotti dal Concilio Vaticano ii, nonché dalla Nota CEI del 18 febbraio 1993. La semplicità dei materiali e dell’aula di culto si alterna così alla costante simbologia che getta le proprie radici all’interno di quel substrato, soprattutto iconografico, presente nelle catacombe e nelle prime chiese cristiane di Roma.
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Castex, Dominique, Philippe Blanchard, Sacha Kacki, Hélène Réveillas et Raffaella Giuliani. « Le secteur central de la catacombe des Saints Pierre-et-Marcellin (Rome, I-IIIe siècle). Indices archéologiques d’une ». Mélanges de l'École française de Rome. Antiquité, no 123-1 (15 avril 2011) : 276–82. http://dx.doi.org/10.4000/mefra.509.
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Castex, Dominique, Philippe Blanchard, Hélène Réveillas, Sacha Kacki et Raffaella Giuliani. « Les sépultures du secteur central de la catacombe des Saints Pierre-et-Marcellin (Rome) : état des analyses bio-archéologique et perspectives ». Mélanges de l’École française de Rome. Antiquité 121, no 1 (2009) : 287–97. http://dx.doi.org/10.3406/mefr.2009.10538.
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Vagramenko, Tatiana. « The Image of the Enemy : the True Orthodox Church in the Photographs of the Soviet Secret Police ». ISTORIYA 13, no 6 (116) (2022) : 0. http://dx.doi.org/10.18254/s207987840021690-8.
Texte intégralRésumé :
This article focuses on the formation of the image of the “ecclesiastic-monarchist underground” and “True Orthodox church” as reflected in the documents and photographs produced by the Soviet secret police during the late-1920s to the late-1950s. The concept of the “True Orthodox church”, as an incrimination in criminal cases against religious believers, was developed on the pages of penal files, agent-operational files, secret reports and manuals of the secret police. It, however, oftentimes had little in common with the historical phenomenon of the catacomb True Orthodox church. The Soviet system framed popular religious traditions as political resistance and counterrevolutionary conspiracy in visual terms, a process in which the secret police too played an important role. The research integrates into the scholarship previously unknown archival documents, photographs, charts and photocollages pertaining to criminal cases against the alleged followers of the True Orthodox church. The analysis of this visual material discloses the internal mechanisms of knowledge production, when the secret police photograph served as a kind of “ideological blueprint” and when it was subject to manipulation, the purpose of which was to expose the enemy and to prove the crime.
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la Giuliani, Raffael. « Il cubicolo della Madonna con due Magi nelle catacombe romane dei SS. Marcellino e Pietro dopo il restauro. Declinazioni iconografiche della scena di Epifania ». Mitteilungen zur Christlichen Archäologie 25 (2019) : 42–60. http://dx.doi.org/10.1553/micha25s42.
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Olson, Todd P. « Pitiful Relics : Caravaggio's Martyrdom of St. Matthew ». Representations 77, no 1 (2002) : 107–42. http://dx.doi.org/10.1525/rep.2002.77.1.107.
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Caravaggio's seminal ambitious program in the Contarelli Chapel (San Luigi dei Francesi, Rome) representing the Calling and the Martyrdom of St. Matthew (1599-1600) invoked the threat of iconoclasm as it imagined the martyr's body as a violated relic. Counter-Reformation images and hagiographies, such as the engravings in Richard Verstegan's Thééââtre des cruautéés des hééréétiques nostre temps, traduit du latin en franççois (Anvers, 1588) and Giovanni Battista Cavalieri's Ecclesiae Anglicanae Trophaea (Rome, 1584), after paintings by Pomarancio, depicted disintegrated sacred bodies subject both to iconoclastic violence and to confusion with polluted bodies. This conflation of social categories in Caravaggio's paintings led his biographers to blame him for the endemic replacement of classical antiquity by persons off the street. The retrospective account by classical theorists displaced an earlier archaeological project that took the ruined saint's body as its artifact: the scientific archaeology of the Christian relic in the Roman catacombs in Antonio Bosio's Roma Soutteranea (Rome, Latin edition, 1634; Italian edition, 1650). The threat of the disintegration of the composition in Caravaggio's paintings thematized the paradox of the incorruptible yet violated flesh of the martyr.The painting, like the relic, recapitulated the biographical narrative of martyrdom. It also proposed patterns of reception based on contemporary rhetorical models: the descriptive enumeration of Christian humanist ekphrasis based on Prudentius's fourth century Crowns of Martyrdom and articulated in Gregory Martin's late-sixteenthcentury guide to Sacred Rome.