КАСТЕЛЛУЧЧА МАНУЭЛЬ (Университет Востока, Неаполь, Италия). Скальные рельефы и родственные связи в древнем Иране сквозь призму современности — наука, политика и национальный вопрос

MANUEL CASTELLUCCIA (University of Naples “L’Orientale”, Italy). Iranian Rock-Reliefs and Iranian Kingship through the Eyes of Modern Scholarship, Politics and Nationalism

From the early 14th century, European travellers became accustomed to ancient Iranian monuments, especially those referring to the pre-Islamic Iranian kingdoms, such as the Achaemenid and Sasanian empires. Starting from the 19th century, the development of artistic and archaeological methodologies and theories established new approaches for analyzing the visual representation of ancient Iranian kingship. The majority of the earliest studies of ancient Iranian monuments were mainly carried out by Western scholars, who also were partially influenced by a colonialist approach, considering the framework of international political struggle, with Persia battling to retain its independence from the expansion of the French, British and Russian empires. In the following decades, especially from the second half of the 20th century, new methodological approaches allowed a better understanding and analysis of ancient Iranian monuments. Particularly important was the development of a consciousness of its past among Iranian politics, intellectuals, and people. A further and partially dramatic approach was undertaken because of the Islamic Revolution in 1979.

Artistic representations dating to the Achaemenid and Sasanian period were mainly expressed by reliefs carved on natural rocks or disposed to adorn royal buildings. These reliefs, widespread throughout the Iranian Plateau, are the main visual expression of the conception of kingship and power by ancient Iranian ideology.

This mountainous area bordering Mesopotamia has a long story of reliefs carved on free-standing rocks or cliffs. Starting from the Early Bronze Age relief of Annubanini, the tradition of depicting royal images on rocks placed upon or nearby strategic places became one of the most distinguished features of ancient Persian art. It was especially during the local Iranian rules (Achaemenid, Parthian, Sassanian) that rock-reliefs greatly expanded. Many of them are intentionally placed on cliffs overlooking important communication and trade routes, intended to be seen by all travelers (nomads, merchants, future kings, or invaders). Others, on the contrary, are erected within or around religious spaces, thus establishing a direct link between the ruler and the deities.

These rock reliefs are an essential part of imperial art, used for displaying regality and supremacy. They were intended for celebrating the kingship and legitimizing power. Therefore, they were part of well-planned imperial propaganda intended to establish a hierarchical order at the top of which the king is the beneficent creators of an orderly system which stressed images of power, victory, piety, control, and harmonious order.

Therefore, the present presentation aims at exploring the different approaches carried out in the past decades for the analysis and interpretation of ancient Iranian kingship as expressed by rock-reliefs.

царская власть, пропаганда, Иран, Персия, Ахемениды, парфяне, Сасаниды

kingship, power, propaganda, Iran, Persia, Achaemenid, Parthian, Sasanian

ДМИТРИЕВА ЕЛЕНА НИКОЛАЕВНА (Государственный Эрмитаж, Российская Федерация). К вопросу об атрибуции и провенансе трех сердоликовых инталий из собрания Государственного Эрмитажа

ELENA DMITRIEVA (The State Hermitage Museum, Russian Federation). On the Attribution and Provenance of the Three Cornelian Intaglios from the Collection of the State Hermitage Museum

Весной 1787 года императрица Екатерина II подтвердила своему агенту барону Фридриху Мельхиору Гримму (1723-1807) получение коллекции гемм известного парижского нумизмата, коллекционера и антиквара Абрахама Жозефа Мишле д’Эннери (1709-1786). В переписке Екатерины и Гримма он получил прозвище "Оракул", благодаря своей компетентности и интуиции в вопросах выбора античных артефактов, в том числе и резных камней. Эннери являлся также консультантом Гримма при приобретении других коллекций гемм, заинтересовавших русскую императрицу, например, кабинета барона де Бретейля, пополнившего императорское собрание в 1782 году. Коллекция резных камней самого Эннери, была выставлена на аукционную продажу после его смерти весной 1786 года и куплена Екатериной. Однако, несмотря на то, что это факт документально подтвержден, имя Эннери осталось лишь именем в длинном списке бывших владельцев, чьи собрания растворились в эрмитажном. Остались неизвестными количество приобретенных императрицей гемм и их стоимость. В современных учетных документах Музея ни один резной камень не числится происходящим из этой частной коллекции. До настоящего момента не предпринималось попыток идентифицировать инталии и камеи, некогда входившие в кабинет глиптики Эннери. Настоящая работа является попыткой реконструкции состава собрания гемм Мишле д’Эннери, поступивших в Эрмитаж. В процессе исследования пересматривается история владения и атрибуции некоторых эрмитажных резных камней, особое внимание среди которых уделено трем сердоликовым инталиям, имеющим богатую историю публикаций. В свете этих данных рассматриваются подходы к определению сюжетов указанных гемм, материала, из которого они выполнены, а также подходы к оценке их художественной ценности.              

инталии, Эрмитаж, история коллекционирования, геммы, резные камни, Абрахам Жозеф Мишле д’Эннери (1709-1786),глиптика

intaglios, Hermitage, collecting history, engraved gems, Abraham Joseph Michelet d’Ennery (1709-1786), glyptics

РАМБАК АДРИЕН (Королевское Нумизматическое общество Бельгии, Бельгия). Мишле д’Эннери (1709–1786) — коллекционер греческих и римских монет

HADRIEN RAMBACH (Royal Numismatic Society of Belgium, Belgium). Michelet d’Ennery (1709–1786) a Collector of Greek and Roman Coins

Abraham Joseph Michelet de Vatimont, seigneur d’Ennery (1709-1786) has been celebrated as France’s most important collector of ancient coins – equal to Joseph Pellerin whose Greek coins are now in the French national library. His name appears in every publication about numismatics in the 18th century, and his life and collection has been studied by Adrien Blanchet, Thierry Sarmant, and François de Callataÿ, but always in a rather superficial way – no systematic study has been done of his numismatic catalogue, or of his correspondence.

A rumour spread in 1777 that he had sold his coins to the Tsarin Catherine II, but this proves to be mistaken: he continued to buy coins until his last days, and the auction-catalogue of his collection has become a reference book of scholarly value, which is still used to this day because of the many unique coins that it contains.

Manuscript diaries relate his encounter with the Milanese collector Don Carlo Trivulzio, and Michelet d’Ennery’s attempts to obtain important Roman gold coins by exchange – rather than purchase. This fits with the information found in numerous letters of the time have been preserved, wihch allow us to understand his collecting habits: preferably swapping coins, and acquiring entire collections – such as that of Claude Picart Duvau.

On the basis of those unpublished sources, some very rare Roman coins that belonged to Michelet d’Ennery, and whose pedigree has been lost since, will be identified, and when possible their further provenance to earlier collectors shall be traced. Examples of unique coins will also be given, whose existence is only known thanks to their inclusion in the 1788 auction-catalogue of his collection, as well as hoards whose existence is only documented in that catalogue.

нумизматика, коллекционирование, XVIII век, римские монеты, Франция, античность, древности, греческие древности

numismatics, collecting, 18th century, Roman coins, France, antiquities, manuscript sources, Greek antiquities, Roman antiquities

ЛИКОРДАРИ АНТОНИО (Археологический парк Древней Остии, Италия), ПЕЛЛЕГРИНО АНЖЕЛО (Археологический парк Древней Остии, Италия). Сцены повседневной жизни в мозаиках древней Остии

ANTONIO LICORDARI (Parco Archeologico di Ostia Antica, Italy), ANGELO PELLEGRINO (Parco Archeologico di Ostia Antica, Italy). Scenes of Daily Life in the Mosaics of Ancient Ostia

In the period of greatest flowering of the mosaic in Ostia, that is the imperial age, the commission was represented by families of a more or less wealthy middle class. They were content to embellish the mosaic floors with a figurative repertoire often of poor artistic quality and simple motifs, not particularly original. In the Roman world black and white floors were widespread, simpler and cheaper to realize. This phenomenon also occurs in Ostia. The most rich social classes, however, allowed themselves to be influenced by the Hellenistic figurative culture and used several times polychrome mosaics.

The simplicity of execution of the mosaic technique with black and white pieces allowed to realize decorative programs of various kinds.

In the environments of vast surfaces mainly mythological themes, fantasy, with plenty of animals, gods and sea monsters, particularly suitable for a seaside resort are spread. These motifs derive from repertoires that were widespread since the late Hellenistic age and that were repeated with minimal variations. Local artists could be more or less in the understanding and elaboration of the subjects. But Ostia, a lively city for its harbour and its commercial exchanges with the major cities of the Mediterranean, also offers a wide repertoire of scenes dedicated to everyday life, on which we intend to focus our attention.

The following main themes can be identified:

1) The world of sport, with boxers, wrestlers and especially aspects of circus competitions. These representations are mainly used in the thermal baths, which by their nature were places intended for recreation to social relations and body care.

2) Peasant life as representation of seasons and work in the fields (for example in a funeral mosaic of Isola Sacra). The mosaic in the Baths of the Coachmen (Terme dei Cisiarii), which depicts a schematic image of city of the late Republican age and a scene of passenger transport by a pair of mules, is also connected to this argument.

3) The world of commerce with the multiple scenes of the Forum of Corporations (Piazzale delle Corporazioni), which are a unique testimony of the commercial relations between the capital of roman Empire and the provinces.

4) The depictions of people even socially humble as the lifeguards of the baths.

5) The grain measurement and its accounting record, which opens a window on the vital problem of urban population supply.

6) Other minor examples of daily life, as hunting and fishing, can also be found in “nilotic” scenes.

древняя Остия, мозаики, повседневность, торговля, термы

Ancient Ostia, mosaic, daily life, commerce, baths