Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2024, Sayı: 17, 133 - 144, 04.11.2024
https://doi.org/10.26658/jmr.1564702

Öz

Kaynakça

  • Ǻkerström-Hougen 1974 G. Åkerström-Hougen, The Calendar and Hunting Mosaics of the Villa of the Falconer in Argos: A Study in Early Byzantine Iconography (Skrifter av Svenska Institutet i Athen 4°, 23), Stockholm.
  • Balty 1977 J. Balty, Mosaïques antiques de Syrie, Brussels.
  • Balty 2011 J. Balty, “Une chronologie discutée: la mosaïque de Mariamin”, V. Correia - C. Oliveira (eds), O mosaico romano nos centros e periferias: Originalidades, influências e identidades, Actas do X Coloquio AIEMA, Conimbriga, 647-656.
  • Bōhm 1998 G. Böhm, “Quid acetabulorum tinnitum? Bemerkungen zur Musikantinnen Mosaik in Hama und zu einer Miniatur der sogennanten Wiener Genesis”, MSpätAByz 1, 47-66.
  • Bowersock et al. 2000 G. Bowersock - P. Brown - O. Grabar (eds.), Late Antiquity: A Guide to the Postclassical World, Cambridge, MA; London.
  • Bruns 1935 G. Bruns, with a contribution by F. Krauss, Der Obelisk und seine Basis aus dem Hippodrom zu Konstatinopel als Denkmal der Spätantike, IF 7, Istanbul.
  • Butcher 2003 K. Butcher, Roman Syria and the Near East, Los Angeles.
  • Cosgrove 2011 C. H. Cosgrove, An Ancient Christian Hymn and Musical Notation. Papyrus Oxyrynchus 1786: Text and Commentary, Tübingen.
  • Cottet 2022a A. Cottet, “Cymbals Playing in the Roman Mosaic from Mariamin in Syria”, CLARA 9, 1-43.
  • Cottet 2022b A. Cottet, “Playing Finger Cymbals in the Roman Empire: An Iconographic Study”, Early Music 1, no. 1, 1-18.
  • Delbrueck 1929 R. Delbrueck, Die Consulardiptychen und verwandte Denkmäler, 2 vols., Berlin.
  • Dunbabin 2016 K. M. D. Dunbabin, Theater and Spectacle in the Art of the Roman Empire, Ithaca, NY; London.
  • Hinks 1971 R. Hinks, Carolingian Art: A Study of Early Medieval Painting and Sculpture in the Western Europe, Ann Arbor.
  • Hobbs 2016 R. Hobbs, The Mildenhall Treasure: Late Roman Silver Plate from East Anglia, London.
  • Işın - Pitarikis 2011 E. Işın - B. Pitarikis, Hippodrome/Atmeydanı: A Stage for Istanbul’s History I, Pera Museum Publications 39, İstanbul.
  • Kãhler 1975 H. Kähler, Der Sockel des Theodosius Obelisk in Konstantinopel als Denkmal der Spätantike, Rome.
  • Kent - Painter 1977 J. P. C. Kent - K. S. Painter (eds.), Wealth of the Roman World: Gold and Silver A.D. 300-700, London.
  • Kiilerich 1998 B. Kiilerich, The Obelisk Base in Constantinople: Court Art and Imperial Ideology, ActaAArHist, Ser. Altera, Rome.
  • Kiilerich 2009 B. Kiilerich, “The Mosaic of the Female Musicians from Mariamin, Syria”, ActaAArtHist XXII (n.s. 8), 87-107.
  • Kitzinger 1980 E. Kitzinger, Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art 3rd to 7th Century, Cambridge.
  • Markovits 2003 M. Markovits, Die Orgel im Altertum, London; Ithaca, NY.
  • Neira 2021 L. Neira, L. Musica y dansa “a escena” en el mundo romsno (I a.C.-VI d.C). Convivia y Espectáculos, Madrid.
  • Neira 2022 L. Neira, “Revisiting the Leda Mosaic Found at Kornmarkt, Trier (Augusta Treverorum)”, JMR 15, 225-250.
  • Painter 1977 K. S. Painter, The Mildenhall Treasure: Roman Silver from East Anglia, London.
  • Parrish 1995 D. Parrish, “A Mythological Theme in the Decoration of Late Roman Dining Rooms:Dionysos and his Circle”, RA, Nouvelle Série, Fasc. 2, 307-332.
  • Perrrot 1973 J. Perrot, “L’orgue de la mosaïque syrienne de Mariamîn”, Revue de Musicologie 59.1, 95-105.
  • Piccirillo 1993 M. Piccirillo, The Mosaics of Jordan (ACOR), Amman.
  • Pillinger et al. 2016 R. J. Pillinger - A. Lirsch - V. Popova (eds.), Corpus der spätantiken und frühchristlichen Mosaiken Bulgariens, Vienna.
  • Rutschowscaya 1990 M.-H. Rutschowscaya, Tissus Coptes, Paris.
  • Strong 1966 D. Strong, Greek and Roman Gold and Silver Plate, Ithaca, NY.
  • Talgam 2005 R. Talgam, “Secular Mosaics in Palestina and Arabia in the Early Byzantine Period”, H. Morlier (ed.), CMGR IX.2, Rome, 1131-1141.
  • Valero Tevar 2013 M. Á. Valero Tévar, “The Late-Antique Villa at Noheda (Villa de Domingo García) near Cuenca and Its Mosaics”, JRA 26, 307-330.
  • Van der Horst - Engelbert 1984 K. Van der Horst - J. H. A. Engelbregt, Utrecht Psalter: Vollständige Faksimile-Ausgabe im Originalformat der Handschrift 32 Bibliotheek der Rijksuniversiteit te Utrecht, 2 vols., Graz.
  • Van der Horst et al.1996 K. Van der Horst - W. Noel - W. C. M. Wüstefeld (eds.), The Utrecht Psalter in Medieval Art: Picturing the Psalms of David, Westrenen.
  • Webb 2008 R. Webb, Dancers and Demons: Performance in Late Antiquity, Cambridge, MA; London.
  • Zaqzuq - Duchesne-Guillemin 1970 A. R. Zaqzuq - M. Duchesne-Guillemin, “La mosaïque de Mariamin conservée au musée de Hama”, Annales Archéologiques de Syrie 20, 93-125.

Representations of Music and the Dance in Late Roman Art

Yıl 2024, Sayı: 17, 133 - 144, 04.11.2024
https://doi.org/10.26658/jmr.1564702

Öz

Music and the dance are an important theme represented in various artistic media of the Late Roman and Early Byzantine periods, including mosaic pavements and decorative arts such as silver metalwork, woven textiles, and carved ivories. A popular aspect of this theme is imagery of the Dionysiac thiasos, with members of the wine god’s entourage making merry by dancing and sounding crotala or cymbal tongs, as we see in a fragmentary mosaic from the House of the Dionysiac Thiasos at Augusta Traiana – Beroe. A similar effect occurs in either an expanded or a somewhat reduced format in pavements from Argos and Madaba. Besides mosaics, this subject also appears on Late Antique silver plate made for display, such as objects in the Mildenhall Treasure from Roman Britain and related works. Coptic textiles used to ornament private houses as colorful wall hangings feature lively dancers and musicians, and these figures may or may not have a mythological identity.
Other non-mythological representations of music and the dance appeared in domestic and public settings. An outstanding example is the well-preserved Mosaic of Female Musicians that decorated a house in Mariamin, Syria, and that assembles an impressive group of instrumentalists and a dancer. One observes a pipe organ (hydraulis) along with a cithara, an aulos, and an acetabulum, consisting of a series of metal bowls struck with a baton. Elsewhere there are depicted a pantomime performance with an organ accompaniment, visible in a mosaic from Noheda, Spain, as well as music-making and dancing in the context of the circus. The latter subject appears on a consular diptych, and on the base of the Obelisk of Theodosius in Constantinople. We finally note that the pipe organ was later adopted for use in the church liturgy, reflected in an illustration in the Utrecht Psalter of 9th-century date. If the latter work of art is a copy of a Late Antique manuscript, as some scholars believe, then the pipe organ’s adoption for Christian ceremonial practice should be dated earlier than originally thought.

Kaynakça

  • Ǻkerström-Hougen 1974 G. Åkerström-Hougen, The Calendar and Hunting Mosaics of the Villa of the Falconer in Argos: A Study in Early Byzantine Iconography (Skrifter av Svenska Institutet i Athen 4°, 23), Stockholm.
  • Balty 1977 J. Balty, Mosaïques antiques de Syrie, Brussels.
  • Balty 2011 J. Balty, “Une chronologie discutée: la mosaïque de Mariamin”, V. Correia - C. Oliveira (eds), O mosaico romano nos centros e periferias: Originalidades, influências e identidades, Actas do X Coloquio AIEMA, Conimbriga, 647-656.
  • Bōhm 1998 G. Böhm, “Quid acetabulorum tinnitum? Bemerkungen zur Musikantinnen Mosaik in Hama und zu einer Miniatur der sogennanten Wiener Genesis”, MSpätAByz 1, 47-66.
  • Bowersock et al. 2000 G. Bowersock - P. Brown - O. Grabar (eds.), Late Antiquity: A Guide to the Postclassical World, Cambridge, MA; London.
  • Bruns 1935 G. Bruns, with a contribution by F. Krauss, Der Obelisk und seine Basis aus dem Hippodrom zu Konstatinopel als Denkmal der Spätantike, IF 7, Istanbul.
  • Butcher 2003 K. Butcher, Roman Syria and the Near East, Los Angeles.
  • Cosgrove 2011 C. H. Cosgrove, An Ancient Christian Hymn and Musical Notation. Papyrus Oxyrynchus 1786: Text and Commentary, Tübingen.
  • Cottet 2022a A. Cottet, “Cymbals Playing in the Roman Mosaic from Mariamin in Syria”, CLARA 9, 1-43.
  • Cottet 2022b A. Cottet, “Playing Finger Cymbals in the Roman Empire: An Iconographic Study”, Early Music 1, no. 1, 1-18.
  • Delbrueck 1929 R. Delbrueck, Die Consulardiptychen und verwandte Denkmäler, 2 vols., Berlin.
  • Dunbabin 2016 K. M. D. Dunbabin, Theater and Spectacle in the Art of the Roman Empire, Ithaca, NY; London.
  • Hinks 1971 R. Hinks, Carolingian Art: A Study of Early Medieval Painting and Sculpture in the Western Europe, Ann Arbor.
  • Hobbs 2016 R. Hobbs, The Mildenhall Treasure: Late Roman Silver Plate from East Anglia, London.
  • Işın - Pitarikis 2011 E. Işın - B. Pitarikis, Hippodrome/Atmeydanı: A Stage for Istanbul’s History I, Pera Museum Publications 39, İstanbul.
  • Kãhler 1975 H. Kähler, Der Sockel des Theodosius Obelisk in Konstantinopel als Denkmal der Spätantike, Rome.
  • Kent - Painter 1977 J. P. C. Kent - K. S. Painter (eds.), Wealth of the Roman World: Gold and Silver A.D. 300-700, London.
  • Kiilerich 1998 B. Kiilerich, The Obelisk Base in Constantinople: Court Art and Imperial Ideology, ActaAArHist, Ser. Altera, Rome.
  • Kiilerich 2009 B. Kiilerich, “The Mosaic of the Female Musicians from Mariamin, Syria”, ActaAArtHist XXII (n.s. 8), 87-107.
  • Kitzinger 1980 E. Kitzinger, Byzantine Art in the Making: Main Lines of Stylistic Development in Mediterranean Art 3rd to 7th Century, Cambridge.
  • Markovits 2003 M. Markovits, Die Orgel im Altertum, London; Ithaca, NY.
  • Neira 2021 L. Neira, L. Musica y dansa “a escena” en el mundo romsno (I a.C.-VI d.C). Convivia y Espectáculos, Madrid.
  • Neira 2022 L. Neira, “Revisiting the Leda Mosaic Found at Kornmarkt, Trier (Augusta Treverorum)”, JMR 15, 225-250.
  • Painter 1977 K. S. Painter, The Mildenhall Treasure: Roman Silver from East Anglia, London.
  • Parrish 1995 D. Parrish, “A Mythological Theme in the Decoration of Late Roman Dining Rooms:Dionysos and his Circle”, RA, Nouvelle Série, Fasc. 2, 307-332.
  • Perrrot 1973 J. Perrot, “L’orgue de la mosaïque syrienne de Mariamîn”, Revue de Musicologie 59.1, 95-105.
  • Piccirillo 1993 M. Piccirillo, The Mosaics of Jordan (ACOR), Amman.
  • Pillinger et al. 2016 R. J. Pillinger - A. Lirsch - V. Popova (eds.), Corpus der spätantiken und frühchristlichen Mosaiken Bulgariens, Vienna.
  • Rutschowscaya 1990 M.-H. Rutschowscaya, Tissus Coptes, Paris.
  • Strong 1966 D. Strong, Greek and Roman Gold and Silver Plate, Ithaca, NY.
  • Talgam 2005 R. Talgam, “Secular Mosaics in Palestina and Arabia in the Early Byzantine Period”, H. Morlier (ed.), CMGR IX.2, Rome, 1131-1141.
  • Valero Tevar 2013 M. Á. Valero Tévar, “The Late-Antique Villa at Noheda (Villa de Domingo García) near Cuenca and Its Mosaics”, JRA 26, 307-330.
  • Van der Horst - Engelbert 1984 K. Van der Horst - J. H. A. Engelbregt, Utrecht Psalter: Vollständige Faksimile-Ausgabe im Originalformat der Handschrift 32 Bibliotheek der Rijksuniversiteit te Utrecht, 2 vols., Graz.
  • Van der Horst et al.1996 K. Van der Horst - W. Noel - W. C. M. Wüstefeld (eds.), The Utrecht Psalter in Medieval Art: Picturing the Psalms of David, Westrenen.
  • Webb 2008 R. Webb, Dancers and Demons: Performance in Late Antiquity, Cambridge, MA; London.
  • Zaqzuq - Duchesne-Guillemin 1970 A. R. Zaqzuq - M. Duchesne-Guillemin, “La mosaïque de Mariamin conservée au musée de Hama”, Annales Archéologiques de Syrie 20, 93-125.
Toplam 36 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Arkeoloji Bilimi
Bölüm Makele
Yazarlar

David Parrish Bu kişi benim 0000-0003-4076-362X

Erken Görünüm Tarihi 23 Ekim 2024
Yayımlanma Tarihi 4 Kasım 2024
Yayımlandığı Sayı Yıl 2024 Sayı: 17

Kaynak Göster

APA Parrish, D. (2024). Representations of Music and the Dance in Late Roman Art. Journal of Mosaic Research(17), 133-144. https://doi.org/10.26658/jmr.1564702
AMA Parrish D. Representations of Music and the Dance in Late Roman Art. JMR. Kasım 2024;(17):133-144. doi:10.26658/jmr.1564702
Chicago Parrish, David. “Representations of Music and the Dance in Late Roman Art”. Journal of Mosaic Research, sy. 17 (Kasım 2024): 133-44. https://doi.org/10.26658/jmr.1564702.
EndNote Parrish D (01 Kasım 2024) Representations of Music and the Dance in Late Roman Art. Journal of Mosaic Research 17 133–144.
IEEE D. Parrish, “Representations of Music and the Dance in Late Roman Art”, JMR, sy. 17, ss. 133–144, Kasım 2024, doi: 10.26658/jmr.1564702.
ISNAD Parrish, David. “Representations of Music and the Dance in Late Roman Art”. Journal of Mosaic Research 17 (Kasım 2024), 133-144. https://doi.org/10.26658/jmr.1564702.
JAMA Parrish D. Representations of Music and the Dance in Late Roman Art. JMR. 2024;:133–144.
MLA Parrish, David. “Representations of Music and the Dance in Late Roman Art”. Journal of Mosaic Research, sy. 17, 2024, ss. 133-44, doi:10.26658/jmr.1564702.
Vancouver Parrish D. Representations of Music and the Dance in Late Roman Art. JMR. 2024(17):133-44.

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