1,720,971 research outputs found
Labraunda 2012 -Rapport préliminaire
No full textHenry Olivier, Karlsson Lars, Blid Jesper, Hedlund Ragnar, Vergnaud Baptiste, Hellström Pontus, Thieme Thomas, Freccero Agneta, Durusoy Elifnaz, Bilgin-Altınöz A. Güliz, Bagdatli-Cam Fatma, Frejman Axel, Lebouteiller Pascal. Labraunda 2012 -Rapport préliminaire. In: Anatolia Antiqua, Tome 21, 2013. pp. 285-355
Wall Paintings, Fayum Portraits and Polychrome Statuary. Conservation, Materials and Context
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Marble Trade in Antiquity: Looking at Labraunda
Get PDFIntroduction What is the provenance of the marble used at Labraunda? According to tradition, marble was supplied by quarries at Sodradağ at the feet of which Mylasa, the ancient capital of Karia, was laid out. Strabo reports that Mylasa was known for its many buildings of white marble, and he suggests that such marble might have been used at Labraunda too. Antique quarries identified at the southern slopes of Mount Sodra contribute to the proposition that Sodra provided marble for Labraunda. ..
Encausto and ganosis :beeswax as paint and coating during the Roman era and its applicability in modern art, craft and conservation /Agneta Freccero
No full textRoman Painting. Wall Paintings, Fayum Portraits and Polychrome Statuary. Conservation, Materials and Context
No full textGoing Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Colour Experiments. The Harpy Monument: a Section of the West Side
No full textReconstructions of ancient polychromy on statuary are often the result of meticulous scientific research: pigments and barely visible remnants of decoration are identified. A pigment, however, does not provide evidence of the character of the paint layer, i.e. whether it was opaque or translucent, matte or glossy. As no intact, original paint layers remain, there are many uncertainties regarding paints and painting techniques. What can be seen on marble are faint traces of paint. In the present paper I will draw on my study of the so-called Harpy monument: the questions posed, the methods applied, the series of tests that were conducted and my suggestion of a possible polychromy. My starting point was the idea that monuments send messages to the viewer: the size of the object and the materials with which it was made indicate the commissioner’s social and economic status. Figures and myths illustrate the cultural context, and they reflect values cherished by the commissioner. Colours and shades also transmit messages. The reconstructive part of the project was limited to one of the west side segments, a relief showing a woman enthroned, but in order to understand the monument as a whole its four sides were considered more broadly, taking into account its Anatolian context
Databas över pompejanska putser
No full textThe study presented in this database concerns plasters used for wall decorations in Pompeii. Earlier experiences in the field showed that plasters compositions change over time. The hypothesis for the study was that there is a connection between the typology and the relative chronology in which the plasters appear on the walls, and that these factors are related not only in single houses or quarters but over the site. The variations were assumed to be related to technology, craftsmanship and fashion. Focus has been set on materials and styles. The database has three sections: Houses, Samples and Types. The types are sorted according to the system of types which is 0 (Zero), which contains the earliest plasters identified, the chronologically namned A-H and the additional X, a group that contains other kinds of materials, such as cocciopesto, modern restoration materials, or waterproof plaster, just to mention some. Purpose: The main objective of this project is to study lime plasters used for wall decoration and, if possible, to find a clear relation between typology and stratigraphy.Studien som presenteras i databasen avser dekorationsputser som används vid väggmålning i Pompeji. Tidigare erfarenheter inom området har visat att putsernas sammansättning förändras över tid. Studien utgick från hypotesen att det finns ett samband mellan putsernas typologi och relativa kronologi, i betydelsen i vilken ordning de uppträder på väggarna, och att dessa faktorer är relaterade inte bara i enskilda hus eller kvarter utan i hela staden. Databasen har tre delar; Houses (Hus), Samples (Prover) och och Types (Typer). Typerna sorteras enligt följande; 0 (Noll), vilken innehåller de äldsta identifierade putserna, de kronologiskt löpande A-H och tilläggstypen X, en grupp som innehåller andra typer av material, som cocciopesto, moderna restaureringsmaterial och vattentät puts, för att nämna några. Syfte: Projektets huvudsyfte är att undersöka kalkputs som använts för väggdekoration och att, om möjligt, hitta en tydlig relation mellan typologi och stratigrafi
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