Suchergebnisse

Il tema del battesimo e dei battisteri nei primi sette secoli dell'era cristiana è fra quelli maggiormente trattati nella letteratura, benché da due prospettive fra loro indipendenti e separate: da un lato l'aspetto storico-liturgico e teologico, dall'altro quello storico-artistico e archeologico. L'obiettivo che la nostra ricerca si è proposta è quello di un'integrazione delle due prospettive, aggiungendone una terza, per così dire "sociale". Quest'ultima definizione comprende l'insieme di quei comportamenti pratici e attitudini mentali ingenerati nella società dalla stessa esistenza del rito battesimale. Il periodo entro cui si muove l'indagine comprende i secoli dal IV al VII, un arco cronologico in cui il quadro normativo ed istituzionale della Chiesa è ancora in evoluzione. La campionatura delle aree in esame comprende contesti prevalentemente orientali ma anche occidentali, in modo da comporre un panorama di confronto il più possibile ampio e rappresentativo. Le aree indagate sono le seguenti: i cinque seggi patriarcali (Roma, Costantinopoli, Alessandria, Antiochia, Gerusalemme) e alcune province mediterranee: Siria occidentale, Cipro, Caria, Panfilia, Lycia, Creta, Dodecaneso (isole maggiori), Palestina, Egitto settentrionale, Macedonia, Tracia, Liguria, Flaminia e Sicilia in Italia, Africa Proconsularis. Il dato archeologico-topografico, dato dalla schedatura di 436 battisteri, è stato quindi messo in relazione con l'evoluzione della liturgia e del contesto storico-sociale nelle diverse aree. Il battesimo, con l'immaginario e le pratiche ad esso collegati e da esso derivati, si è rivelato un elemento fondamentale nella trasformazione strutturale della società che avviene in epoca tardoantica, partecipando, insieme ad altri fattori, al processo di lento cambiamento dei presupposti del vivere sociale: il Cristianesimo diventò progressivamente un elemento di uniformazione dell'identità collettiva, che coinvolgeva sulla base dei medesimi ideali ceti sociali differenti. Un processo di 'democratizzazione' sociale, non privo di contraddizioni, di cui il primo atto fu costituito dalla generalizzazione del rito del battesimo. ; Baptism and baptisteries during the first centuries of Christian era have been largely treated in scientific literature, mainly from two different and autonomous perspectives: on the one hand, history of liturgy and theology, on the other hand, history of art and archaeology. Our aim is to combine these two approaches, by adding a third one, that of social history. This perspective deals with practical behaviours and mental attitudes that are generated within the society by the very existence of the baptismal ritual. The chronological frame which is considered goes from the 4th to the 7th c., a period in which the normative and institutional structure of the Church(es) is still developing. The sampling of the geographical areas under analysis considers mainly the Eastern Mediterranean, but also some of the Western regions, in order to be as much wider and representative as possible. The analysis includes the five patriarchal sieges (Rome, Constantinople, Alexandria, Antioch, Jerusalem) and several provinces: western Syria, Cyprus, Caria, Pamphylia, Lycia, Crete, Dodecanese (main islands), Palestine, northern Egypt, Macedonia, Thrace, Liguria, Flaminia and Sicily in Italy, Africa Proconsularis. The archaeological and topographical data, derived from the record of 436 baptisteries, have been related to the evolution of liturgy as well as to historical and social contexts in the various areas. Baptism, together with the thoughts and practices that are connected to it, and derived from it, has turn out to be fundamental in the transformation of social structures that takes place in Late Antiquity. It contributed, amongst other factors, to the process of slow change of the social schemes: Christianity gradually became a source of uniformity for collective identity, by bringing together different social strata on the base of the same ideals. This process of social "democratisation", not without contradictions, began with the general spread of baptism.

Frontmatter -- Preface -- Contents -- 1. Introduction -- 2. From Nature to Topography -- 3. Fountains and the Ancient City -- 4. Water, Social Space and Architecture at Selinous: the Case of the Urban Sanctuary -- 5. Fountains and Basins in Greek Sanctuaries -- 6. Water in Early Christian Ritual: Baptism and Baptisteries in Corinth -- 7. Aquatic Pasts & the Watery Present: Water and Memory in the Fora of Rome -- 8. Water and Decentring Urbanism in the Roman Period: Urban Materiality, Post-Humanism and Identity -- 9. Water and Urban Structures in the Narrative Worlds of Courtly Novels − Aesthetic and Symbolic Functions -- 10. Syracusan Water Networks in Antiquity -- 11. Meeting Water Needs as a Major Challenge in an Urban Context -- 12. Ice Jams and their Impact on Urban Communities from a Long-term Perspective (Middle Ages to the 19th Century) -- 13. Medieval and Post-Medieval Urban Water Supply and Sanitation -- 14. Harbourscapes -- 15. Human Impact on Hydrology -- 16. Water as an Economic Resource and as an Environmental Challenge Within the Urbanisation Process of the Rhine Valley in the 13th Century -- List of Contributors

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these ...

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God. ; Ce doctorat a pour objectif, en étudiant le christianisme, l'art architectural et décoratif, de comprendre et d'analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l'art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d'un grand intérêt par sa situation géographique de carrefour où depuis l'époque thrace se croisent et fusionnent différentes ethnies et civilisations. D'autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu'est Thessalonique. Il est donc nécessaire d'analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l'évolution de l'art chrétien produit sur ces terres balkaniques l'Antiquité Tardive jusqu'au règne de Boris Michel Ier. L'objectif est de s'interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d'un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l'adoption de la religion chrétienne en tant que religion d'État en 864 conduit à nous interroger sur la naissance d'un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l'art architectural avec l'analyse de la conception des édifices cultuels, c'est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l'art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l'espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d'un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l'impact de sa conception face à sa proximité d'un centre culturel et religieux rayonnant et influent, qu'est Constantinople ? L'étude s'appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l'architecture et l'objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l'art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l'art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God. ; Ce doctorat a pour objectif, en étudiant le christianisme, l'art architectural et décoratif, de comprendre et d'analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l'art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d'un grand intérêt par sa situation géographique de carrefour où depuis l'époque thrace se croisent et fusionnent différentes ethnies et civilisations. D'autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu'est Thessalonique. Il est donc nécessaire d'analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l'évolution de l'art chrétien produit sur ces terres balkaniques l'Antiquité Tardive jusqu'au règne de Boris Michel Ier. L'objectif est de s'interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d'un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l'adoption de la religion chrétienne en tant que religion d'État en 864 conduit à nous interroger sur la naissance d'un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l'art architectural avec l'analyse de la conception des édifices cultuels, c'est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l'art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l'espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d'un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l'impact de sa conception face à sa proximité d'un centre culturel et religieux rayonnant et influent, qu'est Constantinople ? L'étude s'appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l'architecture et l'objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l'art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l'art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu.