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Gotowa bibliografia na temat „INSCRIPTION IMAGES”

Autor: Grafiati

Data publikacji: 11 września 2023

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Artykuły w czasopismach na temat "INSCRIPTION IMAGES"

Zhang, Haoming, Yue Qi, Xiaoting Xue i Yahui Nan. "Ancient Stone Inscription Image Denoising and Inpainting Methods Based on Deep Neural Networks". Discrete Dynamics in Nature and Society 2021 (20.12.2021): 1–11. http://dx.doi.org/10.1155/2021/7675611.

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Chinese ancient stone inscriptions contain Chinese traditional calligraphy culture and art information. However, due to the long history of the ancient stone inscriptions, natural erosion, and poor early protection measures, there are a lot of noise in the existing ancient stone inscriptions, which has adverse effects on reading these stone inscriptions and their aesthetic appreciation. At present, digital technologies have played important roles in the protection of cultural relics. For ancient stone inscriptions, we should obtain more perfect digital results without multiple types of noise, while there are few deep learning methods designed for processing stone inscription images. Therefore, we propose a basic framework for image denoising and inpainting of stone inscriptions based on deep learning methods. Firstly, we collect as many images of stone inscriptions as possible and preprocess these images to establish an inscriptions image dataset for image denoising and inpainting. In addition, an improved GAN with a denoiser is used for generating more virtual stone inscription images to expand the dataset. On the basis of these collected and generated images, we designed a stone inscription image denoising model based on multiscale feature fusion and introduced Charbonnier loss function to improve this image denoising model. To further improve the denoising results, an image inpainting model with the coherent semantic attention mechanism is introduced to recover some effective information removed by the former denoising model as much as possible. The experimental results show that our image denoising model achieves better results on PSNR, SSIM, and CEI. The final results have obvious visual improvement compared with the original stone inscription images.

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Sreedevi, Indu, Rishi Pandey, N. Jayanthi, Geetanjali Bhola i Santanu Chaudhury. "NGFICA Based Digitization of Historic Inscription Images". ISRN Signal Processing 2013 (8.05.2013): 1–7. http://dx.doi.org/10.1155/2013/735857.

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This paper addresses the problems encountered during digitization and preservation of inscriptions such as perspective distortion and minimal distinction between foreground and background. In general inscriptions possess neither standard size and shape nor colour difference between the foreground and background. Hence the existing methods like variance based extraction and Fast ICA based analysis fail to extract text from these inscription images. Natural gradient flexible ICA (NGFICA) is a suitable method for separating signals from a mixture of highly correlated signals, as it minimizes the dependency among the signals by considering the slope of the signal at each point. We propose an NGFICA based enhancement of inscription images. The proposed method improves word and character recognition accuracies of the OCR system by 65.3% (from 10.1% to 75.4%) and 54.3% (from 32.4% to 86.7%), respectively.

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Ruwanmini, Liyanage, Karunarathne, Dias i Nandasara. "AN ARCHITECTURE FOR AN INSCRIPTION RECOGNITION SYSTEM FOR SINHALA EPIGRAPHY". International Journal of Research -GRANTHAALAYAH 4, nr 12 (31.12.2016): 48–64. http://dx.doi.org/10.29121/granthaalayah.v4.i12.2016.2392.

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Sinhala Inscriptions are used as one of the major sources of getting information about ancient Sri Lanka. Revealing the Information from these inscriptions becomes a huge challenge for archeologists. This research paper focused on Sinhala character recognition in ancient Sri Lankan inscription. Our intention is to ease this process by developing a web based application that enable recognition of inscription characters through scanned images and store them in an inscription database. Using this system people can track geographical location of inscriptions. Epigraphist could be able to easily obtain Sinhala interpretation of Sri Lankan inscriptions via the optical character recognition feature in our system. Our work on this research project provides benefits to researchers in archaeology field, epigraphists and general public who are interested in this subject. Inscription site tracking module will present a map that user can go around easily by tracking the locations of inscriptions. This paper presents the Architecture for this Sinhala Epigraphy system.

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Purnama Yanti, Christina, i I. Gede Andika. "HSV image classification of ancient script on copper Kintamani inscriptions using GLRCM and SVM". Jurnal Teknologi dan Sistem Komputer 8, nr 2 (18.01.2020): 94–99. http://dx.doi.org/10.14710/jtsiskom.8.2.2020.94-99.

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The problem of inscription physical damage as one of the historical heritages can be overcome using an image processing technique. The purpose of this study is to design a segmentation application for ancient scripts on inscriptions to recognize the character patterns on the inscriptions in digital form. The preprocessing was carried out to convert images from RGB to HSV. The application used the gray level run length matrix (GLRLM) to extract texture features and the support vector machine (SVM) method to classify the results. The inscription image segmentation was carried out through the pattern detection process using the sliding window method. The application obtained 88.32 % of accuracy, 0.87 of precision, and 0.94 of sensitivity.

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Revesz, Peter Z., i Géza Varga. "A Proposed Translation of an Altai Mountain Inscription Presumed to Be from the 7th Century BC". Information 13, nr 5 (10.05.2022): 243. http://dx.doi.org/10.3390/info13050243.

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The purpose of this study is to examine an Old Hungarian inscription that was recently found in the Altai mountain and was claimed to be over 2600 years old, which would make it the oldest extant example of the Old Hungarian script. A careful observation of the Altai script and a comparison with other Old Hungarian inscriptions was made, during which several errors were discovered in the interpretation of the Old Hungarian signs. After correcting for these errors that were apparently introduced by mixing up the inscription with underlying engravings of animal images, a new sequence of Old Hungarian signs was obtained and translated into a new text. The context of the text indicates that the inscription is considerably more recent and is unlikely to be earlier than the 19th century.

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Iudin, Nikita I., Andrey N. Maslovsky i Mehdi Kazempur. "Glazed Bowl with Persian Pottery from Azak". Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 2, nr 40 (27.06.2022): 175–82. http://dx.doi.org/10.24852/pa2022.2.40.175.182.

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The article presents translation of the inscriptions on a big glazed bowl of Azerbaijani origin from the excavations of Azak. This find is unique for the archaeology of the Golden Horde. For the first time, since the moment of discovery, full translation, the preserved part of an inscription is published. The poetic text belongs to the previously unknown poet, Mokhi Al Din Ali Olnasser. This is one of the most voluminous epigraphic monuments found during the excavations of the Golden Horde sites. A fragment from the Samosdelka settlement, which bears the name of the master potter, Mahmud ibn Yusuf, probably comes from a bowl with a similar inscription. The work also provides information about the share and chronology of Shirvan ceramics in the complex of finds from Azak and other cities of the Golden Horde, gives its technological description and cites some of the most striking images.

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P, Divyarupa Sarma. "An Overview of Musical Instruments in Temple Inscriptions and Sculptures". International Research Journal of Tamil 4, S-8 (9.08.2022): 275–81. http://dx.doi.org/10.34256/irjt22s840.

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Temple inscriptions and sculptures bear testimony to what the Tamil music tradition would have been like many years ago. Although music has not been given a special place in the history of inscriptions, many temples have images of musical instruments engraved in inscriptions and sculptures. During the reign of the king, the art of inscription and sculpture was developed. Music is an integral part of human life. Early man classified lands based on nature and associated music with divine worship. Temple inscriptions and sculptures record references to dance, song, musicians, and musical instruments. Inscriptions and sculptures are widely used to remind people of current events. There is an example for laymen and researchers to learn and understand the shapes of musical instruments. Texts such as Tamilar Music, Panchamarapu, and Tamilar Torkaruviyal give us references to many musical instruments. The shapes of the images can be seen in person in the inscriptions in the temple. Descriptions of music and musical instruments can be found in inscriptions and sculptures at Thillai Nataraja Temple in Chidambaram, Ekambaranathar Temple, Kailasanathar Temple in Kanchipuram, Mamallapuram Gangaikonda Cholapuram, Nellaiappar Temple in Tirunelveli, Tarasuram Temple in Kumbakonam, Kudavarik Temple in Tirumeyyam in Pudukottai District, Arunachaleswarar Temple in Tiruvannamalai, Thiruvattaru.

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Gerleigner, Georg Simon. "ΑΘΕΝΑΙΑ / ΑΙΑΣ". Cahiers du Centre de Linguistique et des Sciences du Langage, nr 60 (24.02.2020): 33–40. http://dx.doi.org/10.26034/la.cdclsl.2020.139.

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That the placement of name inscriptions (letter-chains naming figures or, in rare instances, other pictorial elements) in Greek vase-painting followed certain conventions was noticed early by scholars. In his seminal Non-Attic Greek Vase Inscriptions, Rudolf Wachter succinctly described two main “principles of labelling” : the “starting-point principle” and the “direction principle”.1 While these conventions allow for some variation which is mainly determined by the availability of space, the basic rule of the starting-point principle is that a name is placed close (but preferably not too close) to the figure it refers to – often as close to the head as possible –, with the first letter of the inscription always being closest to a figure’s head (the only exception to that are cases where the name is in its whole width placed horizontally above the head). This also determines the direction of the writing : if the name is placed to the right of (the head of) a figure, the writing runs from left to right, and vice versa ; as a consequence of this direction principle, the “feet” of the letters face the figures they belong to. The rationale behind these long-running and overwhelmingly consistently observed conventions followed by vase-painters presumably was to make clear to the viewer in an unambiguous way which inscription referred to which figure – otherwise (and sometimes still, despite adherence to the conventions) something not easily achieved in many images teeming with figures and letters. In this contribution, I would like to present a – to my knowledge singular – case of a name inscription that plays with these conventions in a spectacular way which epitomises the ingenuity of some craftsmen in exploiting the specific potential of the combination of writing and imagery which inscriptions in Greek vase-paintings represent.

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Purnama Yanti, Christina, i I. Gede Andika. "THINNING STENTIFORD ALGORITHM FOR KINTAMANI INSCRIPTION IMAGE SEGMENTATION". Jurnal Techno Nusa Mandiri 17, nr 1 (15.03.2020): 17–22. http://dx.doi.org/10.33480/techno.v17i1.1203.

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In the copper, inscription contained writing strokes that have high historical value. Age and environmental factors cause damage to the inscription surface and also reduce the appearance of images and letters. One way to preserve it is to carry out the process of converting it into digital format. The use of the morphological operation method is very suitable to be used to improve the shape of the letters in the copper inscription. The morphological operations performed in this study were the Thinning Stentiford algorithm. Based on research that has been done, it was concluded that the Thinning Stentiford algorithm has succeeded in segmenting the letters that exist in the Kintamani copper inscription. However, there are some letters are not well segmented. This is due to the inscription background color and carved letter colors that don't have significant differences. Testing the time it was concluded that the greater the size of the image and the more letters will be segmented, the longer the processing computing.

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Wang, Ziyang, Wei Zheng i Youguang Chen. "Deep learning for fast bronze inscription image retrieval". Journal of Chinese Writing Systems 4, nr 4 (grudzień 2020): 291–96. http://dx.doi.org/10.1177/2513850220964956.

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Collections of bronze inscription images are increasing rapidly. To use these images efficiently, we proposed an effective content-based image retrieval framework using deep learning. Specifically, we extract discriminative local features for image retrieval using the activations of the convolutional neural network and binarize the extracted features for improving the efficiency of image retrieval, firstly. Then, we use the cosine metric and Euclidean metric to calculate the similarity between the query image and dataset images. The result shows that the proposed framework has an impressive accuracy.

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Rozprawy doktorskie na temat "INSCRIPTION IMAGES"

Chéry, Aurore. "L'image de Louis XV et Louis XVI entre tradition et création : statégies figuratives et inscription dans l'espace public, 1715-1793". Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30050.

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L'intérêt scientifique pour l'image de Louis XV et Louis XVI a été jusqu'ici bien moindre que celui manifesté pour celle de leur glorieux ancêtre, Louis XIV. Cette situation a pu être encouragée par une historiographie inclinant à l'hypothèse de la désacralisation de la monarchie au XVIIIe siècle. Il en aurait résulté une dégradation de l'image royale, la monarchie étant incapable de faire face au rôle de plus en plus déterminant joué par la sphère publique. Or, ce travail cherche à montrer que c'est précisément en raison de la prise en compte de l'opinion que cette image royale se redéfinit à cette période, une redéfinition qui apparaissait d'autant plus nécessaire après la défaite dans la Guerre de Sept Ans. C'est bientôt la représentation d'un roi simple et bienfaisant, inspirée par Stanislas Leszczynski, qui s'impose et qui contribue à la popularité de Louis XVI pendant son règne. Ainsi, la représentation royale évolue en se donnant de nouveaux modèles. Elle tire en outre parti d'une multiplicité de supports de diffusion dont la démocratisation permet de toucher un large public. Enfin, cette image ne se conçoit plus sans un nouvel acteur : la presse qui sert à la fois à promouvoir l'iconographie royale, à préciser son sens et à lui donner consistance
Up to now, scholarly studies have shown less interest in the image of Louis XV and Louis XVI than in the one of their glorious ancestor, Louis XIV. This situation may have been encouraged by a historiography fostering the hypothesis of the desacralization of the monarchy in the 18th century. It would have led to a degradation of the royal image, with the monarchy being unable to face up to the growing influence of the public sphere. Yet, this dissertation tries to show that it precisely was because public opinion was taken into account that the royal image was redifined at the period. It appeared all the more necessary after the defeat in the Seven Years War. Soon afterwards, the representation of a simple and benevolent king, inspired by Stanislas Leszczynski, began to prevail and contributed much to the popularity of Louis XVI during his reign. Thus, the royal representation evolved and refered to new models. It also made good use of the democratization of multiple diffusion mediums enabling it to reach a larger public. Finally, the royal image could not be contemplated without paying attention to a major new actor: the press. It was used to promote the new royal iconography but it also precised its meaning and gave it some intellectual substance

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Magloire, Marie-Christine. "Approche intersémiotique des inscriptions murales taguées". Besançon, 2001. http://www.theses.fr/2001BESA1015.

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L'objet d'étude de cette recherche concerne les inscriptions graphiques désignées sous le nom de tag et apparues au début des années quatre-vingt en France. Relevant à la fois, de problématique linguistique de par sa relation au nom et à la signature, de problématique de l'image par son attrait visuel et spacial par son inscription dans les lieux publics urbains, le tag au carrefour de pratique humaine et sociale nous invite à ré-interroger l'écrit ou du moins le "faire scriptural" autrement. La pratique scripturale taguée comme objet d'étude ne peut être appréhendée uniquement sous l'angle sociologique. Système non clos, le tag implique dans son fonctionnement des relations avec d'autres systèmes pour mieux en saisir sa portée, dans une démarche interdisciplinaire (intersémiotique). . .

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O'Driscoll, Joshua. "Image and Inscription in the Painterly Manuscripts From Ottonian Cologne". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467286.

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Focusing on a small number of richly illuminated manuscripts produced in Cologne around the year 1000—and known to scholars since the early twentieth century as the so-called "painterly" group of manuscripts—this dissertation takes the close study of a well-defined group of objects as the starting point for an examination of issues central to broader histories of medieval art. A diptych-like pairing of miniatures with inscriptions, each of which is given a full page, constitutes a characteristic feature of these manuscripts. Because these inscriptions were written specifically to accompany the facing images, the manuscripts from Cologne afford us a rare glimpse of a discourse on art and image making in the tenth and eleventh centuries, as well as providing insights into how such miniatures were meant to be viewed. The first chapter establishes a theoretical framework for the project, which examines both the historical and the scholarly origins of the Cologne School. Moreover, the concept of a "painterly" style is scrutinized and its use is traced back to significant developments in German art-historical writing of the late nineteenth century. The second chapter—devoted to a remarkable, yet relatively unknown tenth-century gospel book in Milan—demonstrates how the manuscript's carefully-crafted pictorial program draws upon an impressive tradition of Carolingian poetry and epigraphy in order to instill a pointed moralizing lesson on its recipient. A closely related sister-manuscript, preserved today in Paris, forms the subject of the third chapter, which demonstrates how the designer of its program employed philosophical and dialectical terms—taken from the school texts of the day—in order to devise an ambitiously complex set of miniatures and inscriptions, centered on a contemplative engagement with the paintings. The dissertation concludes with a chapter on the more famous Hitda Codex, illuminated at the behest of a powerful abbess in the early eleventh century. Through an analysis of the manuscript's narrative program, the chapter details how both image and inscription coordinate the active engagement of the viewer—prompting a consideration of the ways in which the pairings function as allegories of introspection. Throughout the dissertation I aim to reconcile the innovative formal qualities of the miniatures with the unusual complexity of their accompanying inscriptions. As a consequence of this study, it can be demonstrated that in the painterly manuscripts from Cologne, the close intertwining of image and inscription results in sophisticated programs of illumination, which elucidate an unprecedented contemporary reflection on the nature of painting in age otherwise known for its scarcity of written sources on art.
History of Art and Architecture

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Leatherbury, Sean Villareal. "Inscribed within the image : the visual character of early Christian mosaic inscriptions". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:9ea6f425-7010-4820-b35d-bed33c658b60.

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Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.

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Gerleigner, Georg Simon. "Writing on archaic Athenian pottery : studies on the relationship between images and inscriptions on Greek vases". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610545.

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Roussel, Dominique. "Les inscriptions monumentales des temples de pi-ramses d'apres les vestiges de tanis : architectures, images et textes". Paris 3, 1992. http://www.theses.fr/1992PA030096.

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Les temples installes des la xxieme dynastie sur la vaste "gezireh" naturelle de tanis, ont ete en partie construits de materiaux de recuperation de pi-ramses, la ville residence de ramses ii situee a une trentaine de kilometres de tanis a l'emplacement de la ville actuelle de qantir. Depuis sa decouverte en 1798 jusqu'aux travaux actuels les fouilles ont permis de mettre au jour un grand nombre de vestiges d'architecture en calcaire, granit, gres et quartzite au nom de ramses ii reutilises comme materiaux de construction en elevation et en fondation. Notre propos est de faire le point sur la documentation archeologique epargnee par les recuperateurs du passe comme du present. Elle est eparpillee dans differents musees, reenfouis, preservee in situ en bon etat, degradee par les sels ou disparue a jamais
The temples built as early as the xxi st dynasty on the vast natural "gesireh" of tanis, were partly erected using material from pi-ramses, the town where ramses ii resided, situated about thirty lomerers from tanis in what is now qantir. Since its discovery in 1798 until the present day, excavations have brought to light a considerable number of architectural romains in limestone, granite, sandstone and quartzite bearing the name of ramses ii which have been reused within walls and foundations. Our aim is to collate this arcehological documentation, spared by past and present time "pillagers". It is scattered amongst different museums, reburied, preserved in situ in good condition or damaged by salts or in some cases lost for ever

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Khim, Chamroeun [Verfasser], i Willi [Akademischer Betreuer] Jäger. "3D Image Processing, Analysis, and Software Development of Khmer Inscriptions / Chamroeun Khim ; Betreuer: Willi Jäger". Heidelberg : Universitätsbibliothek Heidelberg, 2016. http://d-nb.info/1180737024/34.

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Lerman, Ricardo Terdiman. "Harun Farocki e a (des)montagem do olhar". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06022018-095900/.

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O trabalho de pesquisa pretende aprofundar-se na concepção e método de cinema de Harun Farocki tomando como problema a relação da sua arte cinematográfica com a história e com as construções simbólicas que se operam a partir da produção de imagens no mundo pós-industrial. Há um duplo movimento em seus filmes que consiste em, de um lado, esboçar, através das imagens que circulam no interior do espaço social, uma história audiovisual da civilização que advém com a invenção da fotografia, a fim de localizar as convergências entre guerra, economia, política e representação. Do outro, investigar o papel do realizador e portanto questionar a técnica, a moral e a política de sua atividade, a fim de interrogar a prática cinematográfica em um mundo contemporâneo saturado dela. O presente trabalho buscará, pelo procedimento da análise fílmica discutir os aspectos sociais e políticos da produção de imagens na atualidade segundo a obra de Farocki, ancorando-se na crítica da fotografia (Flusser) e da história da cultura (Benjamin). A pesquisa evidenciará como as estruturas formais de seus filmes constroem uma relação singular entre as imagens de arquivo e os processos históricos correspondentes, tendo como horizonte compreender a ideia de cinema que se constrói nos filmes \"Imagens do mundo e inscrições da guerra\" (1988) e \"Videogramas de uma revolução\" (1992).
The present work intends to deepen in the conception and method of Harun Farocki\'s work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki\'s film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films \"Images of the world and inscriptions of war\" (1988) and \"Videograms of a Revolution\" (1992).

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Rebillard, Laurence. "Images parlantes, langage imagé : les inscriptions peintes sur la céramique attique géométrique, protoattique et à figures noires : autour des consécrations de l'Acropole". Paris 4, 1994. http://www.theses.fr/1994PA040118.

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Ben, Messaoud Fadhila. "Titulature et pouvoir de l’empereur Trajan dans les provinces de l’Occident romain d’après l’épigraphie et la statuaire". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH035/document.

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À travers l’analyse des témoignages de l’épigraphie et de la statuaire relatifs à l’empereur Trajan, issus des cités des provinces occidentales, notre objectif est de déterminer les différentes formes d’expression d’allégeance et de loyalisme des provinciaux à son égard. La présence de Trajan à travers ces deux formes d’expression privilégiées pour la propagande impériale est très significative. Elle est due à plusieurs facteurs : Trajan est d’abord originaire d’Italica, en Bétique, Il est le premier provincial à prendre le pouvoir à Rome ; ensuite il est qualifié de Meilleur des Princes ; et il fut un grand militaire et un bon administrateur durant un long règne de 19 ans et demi. Aussi lui a-t-on rendu hommage par de nombreux documents épigraphiques, élevés sur les fora des cités provinciales qu’accompagnent des statues, en pied, ou équestre. C’est un prince bien connu aussi dans la littérature et la numismatique. Tous ces témoignages montrent qu’il est le premier empereur dont la titulature va s’enrichir d’attributs divers tout au long de son règne, il est Optimus princeps, le premier Dacicus, le premier Parthicus, mais aussi le premier à avoir porté le titre Proconsul, en dehors de Rome.Cette titulature établie d’abord à Rome puis envoyée dans les provinces constitue une matière d’étude riche et variée qui nous a permis de faire des comparaisons entre les provinces et les cités mêmes. Cela nous a été possible, grâce à un inventaire systématique des recueils épigraphiques, qui a recensé 316 inscriptions le concernant. Cet empereur, a non seulement renouvelé certains aspects dits républicains mais a préservé aussi le modèle augustéen, perceptible à travers sa dénomination dans laquelle Imperator Caesar est cité de manière constante en tête de la séquence impériale. En fait, les innovations de Trajan sont importantes et vont marquer longtemps l’histoire impériale, comme l’inauguration d’un nouveau comput tribunicien fixé au 10 décembre de chaque année, au lieu d’un comput variable marqué tout le premier siècle. Il n’a revêtu le consulat que cinq fois et pendant des périodes très coutres. Par cette pratique, il a redonné au pouvoir impérial son importance ; se présente comme le vrai père pour ses concitoyens, à Rome comme à travers l’empire. En somme, la formula de l’empereur trouve sa physionomie définitive à partir du règne de Trajan.Dans les cités des provinces occidentales, Trajan fut vénéré à travers le monumentum, comme par le texte qui fait corps avec la statue impériale. Cette image double répond d’abord aux exigences de la chancellerie impériale et parfois de l’empereur lui-même. Nombreuses sont les inscriptions qui lui sont dédiées. Elles expriment la reconnaissance des provinciaux, satisfaits de sa politique, source de paix et de prospérité. Les cités occidentales ont accordé une importance particulière à son image impériale et à ses différentes transcriptions liées parfois à un programme édilitaire. Il a bénéficié d’une reconnaissance sans limite par les provinciaux qui lui ont dédié des monuments encore visibles en Afrique, en Ibérie et en Germanies. Ce nouvel empereur, est grand conquérant, bon gouverneur, mais aussi héros (nouveau Diomède), il a plusieurs facettes. La fortune de l’empereur, sous son règne, comme après son décès est considérable. Il fut toujours le modèle du bon prince jusqu’aux époques contemporaines
Through the analysis of the epigraphic and statuary evidence that relates to emperor Trajan in the cities of the western provinces, my objective is to determine the various forms of expression of allegiance and loyalty of the provincials towards him . The presence of Trajan through these two forms of expression usually privileged for imperial propaganda is very significant. It is due to several factors: Trajan is originally from Italica, in Betic, He is the first provincial to take power in Rome; then he is called Best of Princes; and he was a great soldier and a good administrator during a long reign of 19 years and a half. He was therefore honored by many epigraphic documents erected on the fora of provincial cities, accompanied by statues, on foot, or equestrian. He is a prince well known also in literature and numismatics. All these testimonies show that he is the first emperor whose title will be enriched with various attributes throughout his reign; he is Optimus princeps, the first Dacicus, the first Parthicus, but also the first to have worn the title Proconsul, outside Rome.This imperial title first established in Rome and then sent to the provinces is a rich and varied subject of study to make comparisons between the provinces and the cities themselves. This seems thanks feasible to a systematic inventory of epigraphic books allowing us to list 316 inscriptions mentioning the Emperor Trajan. This emperor not only renewed certain aspects said republicans but also preserved the Augustan model perceptible through its denomination in which Imperator Caesar is quoted constantly at the head of the imperial sequence. But the innovations of Trajan are important and will mark the imperial history for a long time, as the inauguration of a new computary tribune set to 10 December of each year, instead of a variable computary marked the entire first century. He has only been in the consulate five times and for very long periods. By this practice he has restored to imperial power its importance; He presents himself as the true father for his fellow citizens, in Rome as well as throughout the empire. In short, the Emperor's formula finds its definitive appearance from the reign of Trajan

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