Raffaello Sanzio was the first to realize that something was hidden, by defining the " architecture of the ancient world "as" the bones of a body without flesh "distant shadows now sfaldatesi from their original meaning. She sensed the need for color , feeling different sensations that returns now that quality early lost, not wanting "to please" those "skeletons dumb" too far away from what they actually were.
A totally new concept of 'altar, focusing on the' importance of polychromy to read this monument of the Augustan age, was in 2006 with the reopening of the new Museum of the Ara Pacis. Analyzed, especially the preserved fragments, led to the formulation of hypotheses related to the actual presence of color on the monument, especially in analyzing the background of the relief, since this is one element that sets the perception of the image. This has led to two different meanings to use light and dark backgrounds in the works of the Roman period. In fact, it is assumed that the light backgrounds have been used for landscape and narrative scenarios, while the dark backgrounds took on a more representative role. The blue would therefore not naturalistic connotations but rather monumental, classical and official, and the true change of tradition in early Christian period, there was blue when funds yielded up to the golden fund of the apse mosaics and frescoes depicting religious images.
Special attention was also given to the theme of nature in the light of about 90 different species present in the external face, arranged in a well-ordered hierarchical system, the use of which seems to want to latch on a process of rebirth and new prosperity of Rome due to Augustus.
is therefore important to overturn this difficult to accept the presence of color, now considered as a negligible figure, taking the file of the speech "classic" who maybe want to stay too closed in on itself, not considering the veracity of what is . The remains left to us are so different from what they were, changed over time but not advanced, no longer in relationship with some of their basic parts: the yellow the red and blue .
A totally new concept of 'altar, focusing on the' importance of polychromy to read this monument of the Augustan age, was in 2006 with the reopening of the new Museum of the Ara Pacis. Analyzed, especially the preserved fragments, led to the formulation of hypotheses related to the actual presence of color on the monument, especially in analyzing the background of the relief, since this is one element that sets the perception of the image. This has led to two different meanings to use light and dark backgrounds in the works of the Roman period. In fact, it is assumed that the light backgrounds have been used for landscape and narrative scenarios, while the dark backgrounds took on a more representative role. The blue would therefore not naturalistic connotations but rather monumental, classical and official, and the true change of tradition in early Christian period, there was blue when funds yielded up to the golden fund of the apse mosaics and frescoes depicting religious images.
Special attention was also given to the theme of nature in the light of about 90 different species present in the external face, arranged in a well-ordered hierarchical system, the use of which seems to want to latch on a process of rebirth and new prosperity of Rome due to Augustus.
is therefore important to overturn this difficult to accept the presence of color, now considered as a negligible figure, taking the file of the speech "classic" who maybe want to stay too closed in on itself, not considering the veracity of what is . The remains left to us are so different from what they were, changed over time but not advanced, no longer in relationship with some of their basic parts: the yellow the red and blue .
Image: Reconstruction of hypothetical Ara Pacis polychrome view of the north side
international meeting on the polychromy of ancient monuments COLORS OF AUGUSTUS , Auditorium Ara Pacis, Rome - March 11, 2009
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