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E-book Principles of Decoration in the Roman World

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Penilaian

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A visual structure and hierarchy is created by the spatial-architectural location of the decorative elements and their relationship to one another. Traditional research drawing on Immanuel Kant’s reflections on aesthetics describes such hierarchies by referring to a particular notion of ‘image’ and ‘ornament’: the image becomes the central (research) object, the ornament its parergon19. This does not correspond to the ancient conception of these terms, however.In antiquity, the term ornamentum assumed the meaning of ‘adornment’ in the most compre-hensive sense. It was therefore not conceived of strictly as a counter-concept to ‘image’. Statues could function as the ornamenta of a theatre20, signae and tabulae pictae could become the orna-menta of a city21. The ancient terms imago and pictura, unlike ornamentum, referred to the more specific phenomenon of representation. They were placed in a defined relationship to one another by Vitruvius22: while imago referred to what was depicted in an image, pictura described the skills and techniques employed to produce a pictorial object23. The two terms represented the difference between image and picture carrier. In ancient understanding, imago did not coincide with reality, but was defined, as Gottfried Boehm puts it, by its iconic difference24. Its meaning went beyond mimesis; it displayed something that was absent. Visual representations manifested themselves materially (as picturae), but they transcended the factual to produce meaning (as imagines)25.Against the background of these ancient terms, it is not possible to identify a systematic dif-ference between image and ornament (in their modern sense). Instead, the following features are important for the relational production of pictoriality26: the semantic complexity of the representa-tion (e. g., a narrative mythical image vs. a single figure); the syntax of the image (a complex com-position vs. repetitive patterning); the design of the image boundaries (frame vs. no frame); the position within the decorative ensemble (central vs. marginal); the size of the presentation; the colour range (bichromy vs. polychromy); the image volume (three-dimensional, relief, two-dimen-sional); the exceptionality or conventionality of the pictorial form.In the same spatial context, even on the same wall, these modes of presentation can enter into diverse, even contradictory connections: ‘images’ with ‘images’, ‘ornaments’ with ‘ornaments’. It is the visual location in relation to other decorative elements that generates image effects and image meaning, as well as decorative effects and decorative meaning.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

930.1 DAR p

Penerbit

Berlin/Boston : De Gruyter., 2021

Deskripsi Fisik

205 hlm

Bahasa

English

ISBN/ISSN

9783110732139

Klasifikasi

930.1

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Archaeology

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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