1,720,967 research outputs found
Il "çintamani": un tessuto ottomano nella Deposizione di Tiziano nel Museo del Prado
No full textWhat does Nicodemus wear in the Entombment of Christ (inv. 441) painted by Titian for Antonio Pérez and now preserved at the Prado Museum? Is it just a standard fabric printed with large spots? What is the meaning of this spotted pattern? This article aims to propose an iconological commentary on this painting identifying and trying to explain the meaning of the textile in this particular work. It reproduces a so-called “çintamani” (or a pseudo-çintamani): a motif consisting of three balls sometimes combined with two wavy lines, a characteristic design of the Ottoman repertoires. It is a significant “migrant image” which has traveled through time and space, from the East to the West of the world, becoming a symbol of the Islamic Power
Tra originali e copie: note sui ritratti di Ottomani della collezione Giovio
Full text linkThis article aims to further discuss the relationship between originals and copies within the collection of the historian Paolo Giovio from Como. Particular attention is paid to a nucleus of portraits of Ottoman Sultans, the existance of which is also attested in Giovio’s Elogia virorum bellica virtute illustrium (Florence, 1551). Among the series of copies made, the first one, painted by Cristofano dell’Altissimo for Cosimo de’ Medici and now preserved in the Uffizi Galleries of Florence, is taken into consideration. The final remarks concern the echo and influences that Giovio’s collected portraits might have had in the Ottoman territories
Ritratti gioviani : un "nodo sapiente" tra parola e immagine
No full textLa presente tesi si focalizza sul tema del ritratto, considerato a partire dal Museo, la villa fortemente voluta dallo storico comasco Paolo Giovio. In esso, la dinamica mnemotecnica sottesa alla costruzione dell’edificio si esplica mediante due principali elementi: le imprese, quali “ritratti dell’anima”, e i ritratti fisici, fisiognomici, quali volti della storia universale di cui il Giovio si fece acuto interprete e narratore. Entrambi caratterizzati da un “nodo sapiente” che lega vicendevolmente parola e immagine, essi diventano, quindi, occasione per indagare l’Alterità Musulmana entro l’opera gioviana. In particolare, l’attenzione è circoscritta a un nucleo di ritratti di Sultani Ottomani inclusi negli Elogia virorum bellica virtute illustrium veris imaginibus supposita, quae apud musaeum spectantur (Firenze 1551) del Giovio. Essi sono immagini di Ottomani la cui identità viene, tuttavia, definendosi grazie al “contrappeso” persiano. Considerazioni finali, queste, ancora volte a un mondo cavalleresco e a un Islam di cui Giovio riconosce opportunamente la pluralità
Sultan Mehmed II and Gentile Bellini: The Mnemonic Power of a Portrait, review article: Elizabeth Rodini, Gentile Bellini’s Portrait of Sultan Mehmed II: Lives and Afterlives of an Iconic Image (London: I.B. Tauris/Bloomsbury Publishing, 2020)
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Persian, Turkish, or European? An investigation into a table carpet at the Pitti Palace and its place in history
No full textThis paper draws attention to an important but little-known needlework table carpet (inv. no. MPP 10562), dated to around the seventeenth century (?) and currently preserved in one of the storerooms of the Pitti Palace in Florence. Rediscovered in the Palace’s tapestry storeroom (c. 2009), the Pitti carpet measures 421 x 212 cm and is made up of four red velvet pieces embroidered in gold and silk. While eighteenth, nineteenth, and twentieth-century inventories define this carpet as Persian and/or Turkish in origin, and although more recent research has suggested European provenance, its original place of production is still to be definitively established. Thus, this paper aims to reconstruct the history of this carpet by going back in time, providing new insights into its place of origin, dating, materials, and techniques, all supported by diagnostic analyses. By going through the research stages, it traces routes which pass from Asian trading centres to Portugal, and unravels the mystery by proving that the carpet is a Chinese needlework piece, rather than Persian, Turkish, or European. During the research, archival evidence led to the removal of the lining, which confirmed the presence of golden characters from a Far Eastern language, painted in close proximity to the selvedges of the carpet. Deciphering these characters has become the challenge within the challenge. Further research routes can be followed due to the existence of two comparable pieces, which deserve to be studied and reported on alongside this carpet. First, an analogous needlework carpet of roughly the same size (548 x 212 cm), thought to be Ottoman, approximately dated to the sixteenth or seventeenth century (or, more recently, to the nineteenth century) and currently preserved at the Topkapı Palace Museum, in Istanbul (inv. no. 13/10 [TSM]). Secondly, a further carpet, considered to be Indian (or Persian), from the Musée des Arts Décoratifs’ collections, has been preserved at the Louvre Museum, in Paris, since 2007 (inv. no. MAD 4455). By presenting these comparisons, the paper raises new research questions and opens avenues for further exploration to clarify the relationship between the Pitti carpet and its primary similar prototypes, as well as their clientele and uses
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