Percezione dello spazio e scansione del tempo, studio della composizione narrativa del rilievo assiro di VII sec. d.C (= CMAO 12) .- Nadali Davide; Contributi e Materiali di Archeologia Orientale XII 2006
di Davide Nadali
- Anno Edizione:
- 2006
- Collana/Rivista:
- CMAO - Contributi e Materiali di Archeologia Orientale - ISSN 1120-9631
- Casa Editrice:
- "Sapienza" Università di Roma - Dipartimento di Archeologia
- Argomento:
- Archeologia del Vicino Oriente
- ISBN:
- 1120-9631
Prezzo: € 50.00
Descrizione:
Formato in 4°, rilegato in bross. edit., pp. 364, ill. b/n
"The study is the result of a three year PhD research at the University of Rome "La Sapienza" on diverse aspects of the visual narrative of Assyrian palace reliefs of 7th century BC.
Following an introduction that explains the method and tools applied, from the visual theory to semiotics and philosophy of images, the book divides into five main chapters:
Chapter 1 analyses the sequences that compose the most complete reliefs of Sennacherib in the South-West Palace at Nineveh.
Chapter 2 is the analysis of the narrative division into sequences of Assurbanipal's reliefs in the North Palace at Nineveh.
Chapter 3 and 4 move from the analysis of the previous sections of the study to a synthesis focusing on representing three-dimension space on a two-dimension medium, with the most innovative sculptures of Sennacherib and the subdivision of Assurbanipal's reliefs into three main groups (Assurbanipal's "first style", first group and second group). It also studies the representation of time in art and its reproduction by means of images, recognising three main typologies of narrative: continuous, progressive and cyclic, and describing the structure, distribution, development and movement of images in each typology.
Chapter 5 concludes the study. It explains the Assyrian perception of space, with the introduction of the concept of space dynamisation, the reproduction of time and their representation by means of visual narratives and resulted in an understanding of the cultural phenomena and mental constructs of the representation that we can even recognize in modern and contemporary artistic expressions. It is often affirmed that it is impossible to represent time in images since the visual representations do not reproduce the succession of events and actions but depends instead on juxtaposing figures to transform duration into simultaneity. However, visual art that represents narrative is thus linked to time, since it represents events that enfolded in time and its own reading and narrative enfolds in time.
Actually, we cannot experience a spatial form except in time: we cannot talk about our temporal experience without invoking spatial measures. As a conclusion of the study (Chapter 5), Time is not an external category that can be applied to the representation, but the images themselves express the flow of time, and for that reason we speak of temporalisation of the image. Time is also involved in the visual arts since it splits it into two: a narrated time (erzählte Zeit) - the time covered by the images, and a narrative time (Erzählzeit) - the time used to tell the story. The study discloses the Assyrian perception of space, with the introduction of the concept of space dynamisation, the reproduction of time and their representation by means of visual narratives and resulted in an understanding of the cultural phenomena and mental constructs of the representation that we can even recognize in modern and contemporary artistic expressions.
"The study is the result of a three year PhD research at the University of Rome "La Sapienza" on diverse aspects of the visual narrative of Assyrian palace reliefs of 7th century BC.
Following an introduction that explains the method and tools applied, from the visual theory to semiotics and philosophy of images, the book divides into five main chapters:
Chapter 1 analyses the sequences that compose the most complete reliefs of Sennacherib in the South-West Palace at Nineveh.
Chapter 2 is the analysis of the narrative division into sequences of Assurbanipal's reliefs in the North Palace at Nineveh.
Chapter 3 and 4 move from the analysis of the previous sections of the study to a synthesis focusing on representing three-dimension space on a two-dimension medium, with the most innovative sculptures of Sennacherib and the subdivision of Assurbanipal's reliefs into three main groups (Assurbanipal's "first style", first group and second group). It also studies the representation of time in art and its reproduction by means of images, recognising three main typologies of narrative: continuous, progressive and cyclic, and describing the structure, distribution, development and movement of images in each typology.
Chapter 5 concludes the study. It explains the Assyrian perception of space, with the introduction of the concept of space dynamisation, the reproduction of time and their representation by means of visual narratives and resulted in an understanding of the cultural phenomena and mental constructs of the representation that we can even recognize in modern and contemporary artistic expressions. It is often affirmed that it is impossible to represent time in images since the visual representations do not reproduce the succession of events and actions but depends instead on juxtaposing figures to transform duration into simultaneity. However, visual art that represents narrative is thus linked to time, since it represents events that enfolded in time and its own reading and narrative enfolds in time.
Actually, we cannot experience a spatial form except in time: we cannot talk about our temporal experience without invoking spatial measures. As a conclusion of the study (Chapter 5), Time is not an external category that can be applied to the representation, but the images themselves express the flow of time, and for that reason we speak of temporalisation of the image. Time is also involved in the visual arts since it splits it into two: a narrated time (erzählte Zeit) - the time covered by the images, and a narrative time (Erzählzeit) - the time used to tell the story. The study discloses the Assyrian perception of space, with the introduction of the concept of space dynamisation, the reproduction of time and their representation by means of visual narratives and resulted in an understanding of the cultural phenomena and mental constructs of the representation that we can even recognize in modern and contemporary artistic expressions.