2021 Sayı 14

Permanent URI for this collectionhttps://hdl.handle.net/11452/27475

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    Des expressions et des sentiments sur des pavements dionysiaques de l’Algérie romaine
    (Bursa Uludağ Üniversitesi, 2021-08-25) Serradj-Remili, Nedjma
    The figurative ancient mosaics often represent “living” paintings which depict mythological, historical or real personages who manage to express various feelings thanks to the ingenuity of the mosaic craftsmen. Indeed, the art of ancient mosaic has not ceased to evolve since the Hellenistic period in the direction of the translation of the emotions and feelings that give life to the myths and legends represented. The mosaics which decorated the ceremonial and reception rooms in luxurious domus did not only play an ornamental role, they entertained the guests, stimulated all their senses and provoked the exchange of conversations around the table. The Dionysian mosaics were particularly intended for this function because Dionysus is the god of the banquet! By admiring some of the many pavements of the Dionysian legend of Roman Algeria, one can detect the rendering of emotions and soak up an unreal and almost real atmosphere at the same time! ... This article is an invitation to discover a whole range of sometimes contradictory feelings that appear on mosaics; we will thus be able to see how the African mosaicists from the end of the 2nd to the 5th century A.D. used various methods to make their personages more expressive and alive.
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    La fleur de lotus ou Nelumbo nucifera dans les mosaïques gréco- romaines
    (Bursa Uludağ Üniversitesi, 2021-09-07) Vassal, Véronique
    Numerous mosaics from the Hellenistic and imperial periods with Nilotic decoration have been recorded, both in the West and in the East. Almost all of them have a vegetal decoration illustrating the flora of the Nile. Among this lush vegetation, the lotus is reproduced in various forms and it is worth studying some of these representations in detail. Some examples seem to be part of an Alexandrian tradition, but particularities may evoke the world of Pharaonic Egypt. We have endeavoured to highlight how the expression of these traditions in iconography has manifested itself as well as in the treatment of the decoration. In the first instance, we thought it would be useful to go back over a few notions of botany and the characteristics of water lilies in Egypt. Different species are very similar, which leads to multiple risks of misunderstanding when using iconographic or literary sources. In the second instance, we have tried to show how Greco-Roman mosaic artists rendered the different stages of the growth of these flowers through their art. The naturalistic aspect, very present in Hellenistic mosaics, seems to have changed during the imperial period. Does the lotus retain something of the earlier floral vision, when it adorned the pavements of the Roman provinces? In the House of the Fauna in Pompeii, the mosaic of the Battle of Alexander and Darius decorated an exedra. The threshold, delimited by two Corinthian columns, was decorated with a mosaic consisting of several panels depicting scenes of life on the Nile, dating from the end of the 2nd century BC. These have been widely described and we have only focused here on the representation of lotus flowers. The illustration seems to visually describe the different stages of the flower’s life cycle. This is, in particular, the case as regards the Barberini mosaic in Préneste. The lotus sometimes appears from the front with its petals outspread. The nelumbo then consists of several corollae, the petals of which display shades of colour ranging from dark pink to light pink. This treatment is reminiscent of the fragment from the mosaic of the Canope baths, where a large nelumbo with two corollae unfolds in a circular composition.