弗兰ç是奎尔。第207页,无花果。 159,颜色请。 21,表6。Antiqua Picard,巴黎,2005年。€55. ISBN 2-7084-0734-1(纸)。


阿塔利德人像。功能与表现 [Athens 2003]). In his latest publication, he chooses to examine 上 e of the most significant monuments from the Hellenistic Age, the Great Altar at Pergamon, and the result reflects his obvious expertise and familiarity with the subject. This sophisticated study includes not 上 ly a detailed description and analysis of the 坛’s two sculpted friezes but also an account of the 坛’s discovery, an investigation into the function of the 坛 within its urban context, and an examination of its influences and styles. The illustrations include drawings, plans, and black-and-white photographs situated throughout the text, as well as a series of 21 beautiful color plates immediately preceding the introduction. All of the images are extremely high in quality; they provide vivid and clear accompaniments to the discussion, although some of the older photographs (particularly those from the 封存 s Bernard Andreae) lack the luminous quality of those taken more recently. Several of the photographs taken by Queyrel himself also benefit from oblique angles and close-ups, revealing details easily overlooked from a traditional head-on perspective. In many instances, the photographs are taken from a slightly lowered point of view; these show the figures as they would have looked to a contemporary observer, since the frieze in its original context was situated somewhat above eye level.

Queyrel differs from some earlier scholars in his approach to the Great Altar in that he takes care to look not 上 ly at the art historical value of its sculpted friezes but also at the archaeological context of the 坛 as a whole. The first chapter, an overview of the monument and its discovery, even includes a plan showing where the fragments of the Gigantomachy and Telephos friezes were discovered; many of them had been reused in the late fortification wall directly south of the sanctuary, variously dated from the sixth to the eighth centuries C.E.

第二章,书’s longest single segment, discusses the figural decoration of the 坛—Gigantomachy饰带和Telephos饰带。首先展示Gigantomachy(高度113 m),其中一张保存完好的石板图显示了奎伊雷尔重建它们时每个神性的位置(50–1)。他对神的讨论’身份包括肖像画,铭文和先前学者的理论,并得到照片的支持,尽管只有保存得更好的平板。本节由一张精巧的表格总结,该表格包括每个神像和随附的所有铭文。奎伊尔(Queyrel)与过去100多年的学术先驱们提出的建议相比,给出了对神/女神的认同(普赫斯坦,温尼菲尔德,罗伯特,Kähler,Simon,Schefold等)。

大祭坛的内部饰条描绘了Telephos的故事,按照类似的方式进行了讨论。图中显示了Queyrel重建的幸存面板及其布置(图80–1)。与Gigantomachy的构成相反,Telephos的装饰是一个连续的叙述,从他的构想和婴儿期开始,到他在Pergamon的活动结束。在这里,奎尔雷尔再次在一张冗长的表格中总结了他的解释,并且在这里他主张与先前学者的分析有更多实质性的不同(Bachhenss-Thüriedl, Heres, Massa-Pairault). In this case, however, the validity of his assertions is often difficult to assess because not all of the critical scenes are illustrated. The chapter concludes with a discussion of the originality of the 坛’的带状饰物(与Gigantomachy和Telephos的较早和当代表现相比),以及对纪念碑的已知和/或理论化的简要讨论’s雕塑家(也以表格形式概述)。

第三章通过讨论纪念碑的原始功能,返回对大祭坛的更多考古讨论。是真的吗“altar”或更多的胜利纪念碑?它是献给哪个神灵(如果有的话)的:宙斯,雅典娜,阿加西·蒂什,多名奥林匹亚或神圣的阿塔利德君主(即,欧门尼斯二世)?首先检查的古代资料在这个问题上没有权威。尽管这个纪念碑被学者们不断地称为“Altar of Zeus,”奎伊尔令人信服地指出,大祭坛的设计是为了纪念十二个奥林匹亚诸神和阿塔利德王朝的一位统治者,即被神化的欧门尼斯二世,通常与佩加蒙的城市女神雅典娜联系在一起。这个结论影响我们对纪念碑的理解’的日期也是;尽管有关建筑和雕塑的工作可能始于Eumenes II统治时期(197–公元前158年),奉献给神化的统治者意味着它在死后被奉献。由于它们代表了将奉献精神与胜利纪念碑相结合的类似问题,因此奎伊雷尔在本章中还讨论了大小高卢尔。这些青铜雕像,今天以罗马大理石复制品而闻名,最初分别设在佩加梅涅卫城和雅典卫城。他还对神巨巨像fr带上神灵的安排提出了有趣的评论,表明他们的位置与其所在城市圣所的地理位置相对应(145)。这一理论使人们回想起类似的观点,这些观点涉及就座的神灵在雅典帕台农神庙东檐上的位置(见J. Neils, 帕台农神庙(Bathenon Frieze) [Cambridge 2001] 187)。

第四倒数第二章考虑了Gigantomachy和Telephos饰条的美学问题。对于任何观看者而言,这两种构图在情绪和风格上的差异都是显而易见的,构图对早期资料的依赖尤其是帕台农神庙。所有这些问题都清晰,逻辑地呈现,为大祭坛的主要视觉元素提供了很好的总结’s sculptural decoration. This discussion is followed by consideration of the 坛’对后来的希腊文化及其他艺术的影响。


P.O. Box 208271

的书评 L’佩加蒙祭坛:Gr中的图像和力量èce d’Asie,由François Queyrel

丽莎·布罗迪(Lisa R.

美国考古学杂志 飞行。 111,第4号(2007年10月)

在线发布于 www.ajaonline.org/book-review/524

DOI:10.3764 / ajaonline1114.Brody



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