Actes de Conférence scientifique et pratique : « Les politiques et les initiatives éducatives dans le développement ethno-culturel des régions Big Altai », 14 Avril 2016, Barnaul, Russie, , 2016
В этой статье мы предлагаем ввести понимание иконографических элементов панели фрески из Карфаген... more В этой статье мы предлагаем ввести понимание иконографических элементов панели фрески из Карфагена. Фреска является наименее известным и изученнмй артефактом. Обычно фреску понимают как роспись красками, растворенными в воде, по мокрой известковой штукатурке и ее фиксация там. Это искусство требует, чтобы подготовка эскиза была выгравирована или нарисована охрой на штукатурке. Последняя представ-ляет собой много основанных на извести слоев и требует специального режима. Through this article, we propose to introduce a modest reading of the iconographic elements of a panel of fresco from Carthage. Fresco is, in reality, the least known and studied artifacts. In fact, we can present fresco as a color dissolved in water, which enters the wet lime plaster and fixed there. This art requires the preparation of a sketch to be incised or painted in ocher on the mortar. The latter is a number of lime-based layers and which requires a special treatment.In his book «De l'architecture», Vitruve wrote that one must first soak the lime for a certain time to counter the risk of blistering. As for the layers, they are seven in number. And the writer compared the well-polished surface of the fresco to a silver mirror that reflects sharp images .Observing the painting of Carthage, we know that it is composed by several layers. On a blue-gray background is revealed a group of characters. One of those fragments is showing a part of a female body illustrated from the front, and which is entwined with one arm. The second piece comprises two bodies, one is painted from behind and left arm held out as to kiss another character frontally-exposed. The third fragment consists of the painting of the lower part of a female body which can belong to the same person frontally illustrated in the second fragment. The fourth piece shows the lower part of a body and seems to be related to the painted subject of the second fragment. The fifth debris illustrates part of a face tilted to the left… In addition, this pictorial composition is engorged with symbols, which must be the image of concepts and beliefs. What about its religious significance?
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object of this note, represents a sacro-idyllic landscape
according to some and The torture of Dirce, according to
others. Of course, the fresco is fragmentary and small, but
by the superposition of its registers and the multiplicity
of its components, deserves interest. It shows a landscape
animated by two figures. In the foreground, a character
whose right leg is forward and his right hand is raised. He
moves towards a building to his left. He is dressed in a mantle
(chlamys) carried away by the wind, as if to accentuate the
illusion of movement. To the left of the character, a head of
cattle is visible. Although heavily mutilated, this fragment
shows the bull advancing the left anterior leg. The bull, in
addition to being an animal for amphitheatre games, is noted
during the sacrifices dedicated to Mithra, Cybele, Venus and
many other gods. In Africa, this animal appears abundantly
on votive Saturn steles. On the right, in the same plane, there
is a colonnade whose entablature is decorated with libation
vases. A cippe-altar with balusters is leaning against the
column barrel of this monument. According to tradition,
the sanctuary is decorated with a garland. In the second
plane, there is a tree. Very light yellow-green spots, perfectly
translucent, outline the broad leaves of the tree. However,
the branches and flowers are painted on opaque white. A
white flower has a pistil marked in black: it is an inlay. By
the width of its leaves, and the globular shape of its fruits,
this tree recalls the plane tree. The Platanist was in Greece a
plain shaded by plane trees where the Spartans were doing
gymnastics.
By its components, the temple, the tree, the victimarius and
the cattle, our painting would be a replica of the painting
A 9418 exhibited at the Archaeological Museum of Naples.
It is entitled Rural Sacrifice. It is of the 4th style. In a sacred
landscape, a shepherd pushes a goat towards the altar
of a temple for sacrifice. Also a scene of sacrifice, even a tauroctony are readable. The sanctuary is decorated with a
garland which, in addition to the sacred tree, is an essential
attribute of the scenes of sacrifice and tauroboles. If the
tauroctony hypothesis is confirmed, this painting would be
an unicum. Taurobolic altars have been discovered in the
area. The ritual is linked to the worship of Mater Magna, the
Great Mother. At Gightis, according to Constans, the Mother
of the Gods was worshipped. Moreover, a sculpture of the
goddess Cybele was discovered at Gightis. We know that the
cult of Cybele spread in Africa since the Antonine era; it was
assimilated to Caelestis.
We cannot conclude without adding that the technical
specificities of the painting denounces a great knowledge of
perspective revealed by the painting of the sanctuary in bais
and its altar. The painter succeeded in the play of light and
was able to attribute dynamism to the victimarius.
Fascinée par les genres de vie en antiquité et notamment au Maghreb dans leurs aspects : architecture et décor, je me suis proposée d’observer l’un des traits de caractères du décor architectonique antique à savoir l’ordre et l’influence et particulièrement l’influence hellénistique : un phénomène qu’a attesté Milliti-Kh depuis l’époque punique et dont a parlé dans ses « épitres II », Horace en disant «La Grèce conquise a conquis son farouche vainqueur en portant les arts dans le rustique Latium».
Dans le but d’apprécier ce fait, on a considéré deux éléments architectoniques découverts et exposés à Carthage à savoir une colonnette ionique en grès stuqué provenant d’une maison punique à Byrsa et dont les composantes sont d’inspiration athénienne et un fût de colonne montrant un atlante -thème purement grec auquel très vite les romains ont pris goût- auquel s’est référé l’Archevêque d’Alger Charles lors de son argumentation pour établir un musée à Carthage en 1881.
object of this note, represents a sacro-idyllic landscape
according to some and The torture of Dirce, according to
others. Of course, the fresco is fragmentary and small, but
by the superposition of its registers and the multiplicity
of its components, deserves interest. It shows a landscape
animated by two figures. In the foreground, a character
whose right leg is forward and his right hand is raised. He
moves towards a building to his left. He is dressed in a mantle
(chlamys) carried away by the wind, as if to accentuate the
illusion of movement. To the left of the character, a head of
cattle is visible. Although heavily mutilated, this fragment
shows the bull advancing the left anterior leg. The bull, in
addition to being an animal for amphitheatre games, is noted
during the sacrifices dedicated to Mithra, Cybele, Venus and
many other gods. In Africa, this animal appears abundantly
on votive Saturn steles. On the right, in the same plane, there
is a colonnade whose entablature is decorated with libation
vases. A cippe-altar with balusters is leaning against the
column barrel of this monument. According to tradition,
the sanctuary is decorated with a garland. In the second
plane, there is a tree. Very light yellow-green spots, perfectly
translucent, outline the broad leaves of the tree. However,
the branches and flowers are painted on opaque white. A
white flower has a pistil marked in black: it is an inlay. By
the width of its leaves, and the globular shape of its fruits,
this tree recalls the plane tree. The Platanist was in Greece a
plain shaded by plane trees where the Spartans were doing
gymnastics.
By its components, the temple, the tree, the victimarius and
the cattle, our painting would be a replica of the painting
A 9418 exhibited at the Archaeological Museum of Naples.
It is entitled Rural Sacrifice. It is of the 4th style. In a sacred
landscape, a shepherd pushes a goat towards the altar
of a temple for sacrifice. Also a scene of sacrifice, even a tauroctony are readable. The sanctuary is decorated with a
garland which, in addition to the sacred tree, is an essential
attribute of the scenes of sacrifice and tauroboles. If the
tauroctony hypothesis is confirmed, this painting would be
an unicum. Taurobolic altars have been discovered in the
area. The ritual is linked to the worship of Mater Magna, the
Great Mother. At Gightis, according to Constans, the Mother
of the Gods was worshipped. Moreover, a sculpture of the
goddess Cybele was discovered at Gightis. We know that the
cult of Cybele spread in Africa since the Antonine era; it was
assimilated to Caelestis.
We cannot conclude without adding that the technical
specificities of the painting denounces a great knowledge of
perspective revealed by the painting of the sanctuary in bais
and its altar. The painter succeeded in the play of light and
was able to attribute dynamism to the victimarius.
Fascinée par les genres de vie en antiquité et notamment au Maghreb dans leurs aspects : architecture et décor, je me suis proposée d’observer l’un des traits de caractères du décor architectonique antique à savoir l’ordre et l’influence et particulièrement l’influence hellénistique : un phénomène qu’a attesté Milliti-Kh depuis l’époque punique et dont a parlé dans ses « épitres II », Horace en disant «La Grèce conquise a conquis son farouche vainqueur en portant les arts dans le rustique Latium».
Dans le but d’apprécier ce fait, on a considéré deux éléments architectoniques découverts et exposés à Carthage à savoir une colonnette ionique en grès stuqué provenant d’une maison punique à Byrsa et dont les composantes sont d’inspiration athénienne et un fût de colonne montrant un atlante -thème purement grec auquel très vite les romains ont pris goût- auquel s’est référé l’Archevêque d’Alger Charles lors de son argumentation pour établir un musée à Carthage en 1881.