1,720,990 research outputs found
Il Centro di Documentazione di Storia dell'Arte Bizantina della Sapienza: dai viaggi di studio all'archivio digitale
No full textIn 1966, a team of Rome-based architects and art historians led by Gèza de Francovich (1902-1996) inaugurated a series of field trips with the purpose of gaining first-hand knowledge of medieval Armenian architecture. These trips, funded by Sapienza University of Rome and the National Council of Research of Italy (CNR-Consiglio Nazionale delle Ricerche), resulted in a substantial number of photographs, a selection of which was displayed at a 1968 photographic exhibition in Rome, titled Architettura Medievale Armena. In the following decades, under the direction of Fernanda de’ Maffei (1917-2011), the Sapienza team continued to travel regularly in the territories of the Byzantine Near East, documenting art and architecture in Turkey, Syria, Greece, Israel, Jordan, and North Africa. The vast amount of material acquired during these explorations (mainly photographs, but also letters, notes, and travel diaries) was eventually collected in the CDSAB-Center for Documentation of Byzantine Art History, founded in 1996 by Mara Bonfioli. The Center is currently the repository for over 35,100 images (including photographs, maps, and drawings) and has become a remarkable resource for the study of early Christian and Byzantine monuments distributed throughout different areas of the eastern Mediterranean, many of which are currently inaccessible or very difficult to reach. Until now, however, this material has remained mostly unknown to scholars, as it has never been catalogued or published extensively. Only in 2018 two exhibitions held in Istanbul and in Rome (Picturing a Lost Empire. An Italian Lens on Byzantine Art in Anatolia, 1960-2000; La Siria bizantina nella documentazione fotografica dal Novecento a oggi) provided a first glimpse of the holdings of the Center. More recently, the research project Picturing a Lost Empire. An Archive for Byzantine Monumental Heritage in the Eastern
Mediterranean: The Centro di Documentazione di Storia dell’Arte Bizantina, Sapienza Università di Roma, led by Antonio Iacobini, offered the opportunity to expand the research initiated with the 2018 exhibitions. Since 2020, the Center’s photo archive has undergone a new campaign of hires digitization, metadata collection, and online publication. Starting with the photographs taken during the field trips led by Fernanda de’ Maffei in Cilicia and Isauria (in the 1980s and 1990s), the photographic material is currently being transferred into a digital database, with the aim of making the whole collection available through the institutional website of Sapienza University (https://saras.uniroma1.it/en/structures/cdsab). Transparencies, negatives, proof sheets, and printed photographs are organized in topographical order, focusing on the regions explored for over half a century by the Byzantine art historians of Sapienza. After each item is inventoried, catalogued, and digitized with the collaboration of the DigiLab Center of Sapienza, it is uploaded on the website and can be searched through a dedicated browser. The CDSAB digital collection is intended as an expanding repository. It includes other groups of pictures recently digitized (parts of the collections on Istanbul, Syria, and Mesopotamia) and photographs originally in digital format (such as those on Georgia), and it aspires to dialogue with similar initiatives on Byzantine art and architecture at international level
Fotografare Bisanzio. Arte bizantina e dell'Oriente mediterraneo negli archivi italiani
No full textIl volume affronta il tema, sinora inesplorato, degli archivi italiani che custodiscono immagini fotografiche relative all’arte di Bisanzio e dell’Oriente mediterraneo. Tali raccolte iniziarono a formarsi già alla fine dell’Ottocento e furono avviate sulla scia di ricerche, missioni e campagne archeologiche di istituzioni e di singoli studiosi. Si tratta di un patrimonio molto prezioso, che offre una testimonianza unica sull’afterlife dei monumenti, la cui integrità spesso è stata alterata o è andata irrimediabilmente perduta a causa di interventi di ripristino, cataclismi naturali e guerre. Di pagina in pagina, di fotografia in fotografia, il lettore viene
accompagnato – sulle orme di celebri personalità italiane e straniere – in un itinerario che si muove in una latitudine geografica vastissima: dai Balcani all’Anatolia, dal Caucaso alla Siria, dall’Egitto all’Italia. "Fotografare Bisanzio", oltre a presentare giacimenti visivi di grande importanza storica, richiama l’attenzione su un tema generale di stringente attualità: il destino dei documenti su supporti fisici nell’era digitale e la necessità della loro salvaguardia come oggetti imprescindibili della memoria culturale
Venerare la Vera Croce: osservazioni sulla stauroteca bizantina di Grado
No full textLa stauroteca d’argento dorato del Tesoro di S. Eufemia a Grado è stata generalmente considerata nella storia degli studi come un prodotto delle officine bizantine dell’inizio del VII secolo. La tradizione ha collegato il suo arrivo nella città adriatica alla donazione fatta dall’imperatore Eraclio (610-641) al patriarca gradese Primigenio. Mentre la provenienza dall’Oriente bizantino è indiscutibile, l’attribuzione cronologica deve essere ripensata sulla base di considerazioni stilistiche (per quanto possibile, dato il precario stato di conservazione dell’oggetto), tipologiche, paleografiche e documentarie. Viene qui condotta una
nuova disamina delle fonti archivistiche di età medievale e moderna, delle testimonianze grafiche e dei modelli di riferimento per ricostruire la possibile forma originaria del reliquiario e la sistemazione del suo prezioso contenuto. Su un piano più ampio, questo articolo mira a esaminare i rapporti culturali e artistici tra Bisanzio e l’Italia nel Medioevo, attraverso le vicende che legarono il patriarcato di Grado a Venezia e al Mediterraneo orientale.The gilded silver staurotheke from the Treasury of St. Euphemia in Grado has been generally considered in scholarship to be a product of the Byzantine workshops of the early 7th century. Tradition has associated its arrival in the city on the Adriatic with the donation made by Emperor Heraclius (610-641) to the Grado patriarch Primigenius. While its provenance from the Byzantine East is indisputable, its chronological attribution must be reconsidered based on stylistic (as far as possible, given the object’s poor state of preservation), typological, palaeographical and documentary considerations. A new investigation
of medieval and modern archival sources, graphic evidence, and models is hereby conducted in order to reconstruct the possible primitive form of the reliquary and the arrangement of its precious contents. More broadly, this article aims to explore the cultural and artistic relations between Byzantium and Italy in the Middle Ages, through the events that tied the Patriarchate of Grado to Venice and the Eastern Mediterranean
Bisanzio negli archivi dell’Università di Bologna: dalla collezione Giuseppe Bovini all’archivio digitale “BYZART – Byzantine Art and Archaeology on Europeana and Alma Digital Library”
No full textIl contributo presenta le collezioni d'archivio dedicate all'arte e all'archeologia bizantina digitalizzate in occasione del progetto europeo "BYZART-Byzantine Art and Archaeology on Europeana", finanziato dall'Unione Europea nell'ambito del progetto Connecting Europe Facility-Europeana Generic Services. La banca dati, oggi liberamente consultabile tra le collezioni di Alma Digital Library, raccoglie più di 75.000 immagini da 29 archivi internazionali, corredate da un ampio set di metadati arricchito con risorse Linked Open Data per favorirne accessibilità, ricercabilità e interoperabilità. Oltre ai risultati e alle buone prassi, vengono presentate altre risorse digitali correlate, come la mostra virtuale "The Silk and the Blood. Images of authorities in Byzantine art and archaeology", e le potenzialità di valorizzazione e ricerca offerte dalla collezione
Adriano Alpago novello e il Centro Studi e Documentazione della Cultura Armena
No full textIn 1967, Adriano Alpago Novello made his first study trip to Armenia; aware of the importance of the medieval cultural heritage of the southern Caucasus, he started storing consistent documentation. That documentation has been the core of decades of activity at the Armenian Culture Studies and Documentation Centre, nowadays located in Venice. In the summer 2021, the personal documentation of Alpago Novello has been brought to Venice, to join the historical collection and create a unified corpus of photos and written documents. The historical collection maintains a focus on the Armenian heritage, while the personal collection covers a wide geographical area with a special focus on byzantine Greece and Russia, Georgia, and Near East Christian heritage. This paper aims to describe the history, the state of conservation, the content, and the potential of this valuable and unknown collection of photos. A project written by the CSDCA and Ca’ Foscari University of Venice aims to promote the mentioned collection to open new research frameworks in the contemporary historical and theoretical context while strengthening and rebuilding the great legacy rooted in Venice in the study of Eastern Christian cultures. The purpose is to collect, digitalize, and catalog Alpago Novello’s photographic documentation, to create an open-source database that will satisfy a broad request for access. The archive gives an overview of the conservation of cultural heritage during the Soviet Period and terms of comparison to look critically at the present-day monuments and landscapes after human or natural transformations have occurred. In addition, the collection shows the point of view of scholars involved in the Italian missions from the Sixties to the Nineties, opening interesting paths through several study fields like art-historical historiography, visual perception between East and West, the history of photography, and Middle Eastern history
Adriano Alpago novello e il Centro Studi e Documentazione della Cultura Armena
No full textIn 1967, Adriano Alpago Novello made his first study trip to Armenia; aware of the importance of the medieval cultural heritage of the southern Caucasus, he started storing consistent documentation. That documentation has been the core of decades of activity at the Armenian Culture Studies and Documentation Centre, nowadays located in Venice. In the summer 2021, the personal documentation of Alpago Novello has been brought to Venice, to join the historical collection and create a unified corpus of photos and written documents. The historical collection maintains a focus on the Armenian heritage, while the personal collection covers a wide geographical area with a special focus on byzantine Greece and Russia, Georgia, and Near East Christian heritage. This paper aims to describe the history, the state of conservation, the content, and the potential of this valuable and unknown collection of photos. A project written by the CSDCA and Ca’ Foscari University of Venice aims to promote the mentioned collection to open new research frameworks in the contemporary historical and theoretical context while strengthening and rebuilding the great legacy rooted in Venice in the study of Eastern Christian cultures. The purpose is to collect, digitalize, and catalog Alpago Novello’s photographic documentation, to create an open-source database that will satisfy a broad request for access. The archive gives an overview of the conservation of cultural heritage during the Soviet Period and terms of comparison to look critically at the present-day monuments and landscapes after human or natural transformations have occurred. In addition, the collection shows the point of view of scholars involved in the Italian missions from the Sixties to the Nineties, opening interesting paths through several study fields like art-historical historiography, visual perception between East and West, the history of photography, and Middle Eastern history
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