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Journal articles on the topic 'Catacombs in art'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Fatyushyna, N. Yu. "Basic features of early Christian art (painting, mosaic, architecture, music)." Ukrainian Religious Studies, no. 25 (December 27, 2002): 110–17. http://dx.doi.org/10.32420/2003.25.1434.

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The most ancient monuments of ancient Christian art were found in catacombs located outside the cities. The Christian catacombs were a complex plexus of underground narrow galleries with numerous niches where the coffins of martyrs and bishops were placed. These niches formed a kind of rectangular chambers, the walls and surfaces of which were decorated with images. Thus, early Christian art begins with catacomb paintings.

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Tiurina, Svetlana Nikolaevna. "Between image and depiction: The Second Commandment in the Context of Catacomb Painting." Философская мысль, no. 4 (April 2025): 1–25. https://doi.org/10.25136/2409-8728.2025.4.73641.

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Catacomb painting, formed in the context of the biblical prohibition on images (the Second Commandment), is a unique phenomenon of early Christian culture. The article analyzes methodological approaches to its study: iconographic analysis, concepts of identity, artistic style, dialogue and the role of the viewer. Special attention is paid to the juxtaposition of an "image" (a material object) and an "image" (a symbol indicating the transcendent), which reveals the apophatic principle of overcoming prohibition. The author criticizes the limitations of existing methods, offering an interdiscipli

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Sherazi, Melanie Masterton. "William Demby's Rome and the Transnational 1960s." MLN 140, no. 1 (2025): 65–78. https://doi.org/10.1353/mln.2025.a963655.

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Abstract: The late African American author William Demby's writings in postwar Rome for the Italian cinema and for periodicals suffuse the experimental aesthetics of his semi-autobiographical 1965 novel The Catacombs ( Le catacombe , 1967) at the level of content, style, and form. This essay analyzes filmic and televisual elements that animate The Catacombs ' striking revision of protest art through its Black female protagonist Doris's relation to the image. Demby's own life narrative enters into a playful, metafictional relationship with that of his novel's narrator, "Bill Demby," an African

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Kardis, Mária, and Dominika Tlučková. "The Symbol of the Phoenix in the Catacombs of Priscilla in Rome and Its Transformation in Early Christianity." Biblical Annals 12, no. 1 (2022): 65–88. http://dx.doi.org/10.31743/biban.12903.

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The presented study deals with the oldest Christian depiction of a phoenix found in the Catacombs of Priscilla in Rome. Since catacomb art is a narrative depiction of biblical stories, it is important to incorporate the motive of phoenix into historical context. The study performs analysis and comparison the links and connections of the phoenix symbol in pagan and Christian thought. As Christian iconography is associated with allegorical symbols, the intention is to anticipate the meaning, origin and etymology of the phoenix symbol. The article therefore summarizes how the symbol and position

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Yavorska, V. V., V. A. Sych, K. V. Kolomiyets, and A. M. Shashero. "Odessa catacombs as an integral part of the tourist image of the Black Sea region." Вісник Дніпропетровського університету. Геологія, географія 26, no. 1 (2018): 219–26. http://dx.doi.org/10.15421/111822.

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The article examines the history of the Odessa catacombs, focuses on the history of research of underground labyrinths, and their gradual transformation from objects of scientific interest to tourist objects. We understand the tourist image of the region as the system of rationally and emotionally formed ideas, which are based on specific features of the territory, emphasizing its individuality from the point of view of the tourists. Tourist image always is woven into a certain historical context and social situation. Each era generates its special perception of the environment, changing the e

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Szkołut, Paweł. "Sceny męczeństwa i ocalenia w późnoantycznej sztuce synagogalnej." Vox Patrum 44 (March 30, 2003): 381–96. http://dx.doi.org/10.31743/vp.8093.

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The aim the article „The Scenes of Martyrdom and Salvation in Late Antique Synagogue Art" is presentation of all iconographical examples of these scenes appearing in Jewish art of late Antiquity. There are two types of them: one is showing the sacrifice of Abraham and another the prophet Daniel in lions' den. These imaginations belong to a broader range of so called „salvations scenes", which decorated mosaics, relieves and paintings of many synagogues, as well as churches and Christian catacombs.

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Presti, Olga Lo, and Maria Rosaria Carli. "Italian Catacombs and Their Digital Presence for Underground Heritage Sustainability." Sustainability 13, no. 21 (2021): 12010. http://dx.doi.org/10.3390/su132112010.

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The Italian catacombs represent one of the most interesting examples of the country’s underground built heritage. A strategic use of digital technologies can foster their sustainability by providing virtual access to local communities and tourists, as well as by transferring their value to future generations. Referring to a classification of the catacombs of Italy carried out by the Pontifical Commission for Sacred Archaeology of Vatican City, this paper analyzes the digital presence of this heritage within the contexts of social media, video sharing and navigation platforms in institutional a

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Novikoff, Alex J. ":Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism." Sixteenth Century Journal 44, no. 1 (2013): 240–42. http://dx.doi.org/10.1086/scj24245320.

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9

Olin, Margaret. "Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 31, no. 2 (2013): 174–77. http://dx.doi.org/10.1353/sho.2013.0007.

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10

Kuvatova, Valeria. "SYMBOLISM OF EARLY CHRISTIAN PRAYERS IN ROMAN, GREEK AND EGYPTIAN FUNERARY ART." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 177. http://dx.doi.org/10.31857/s086919080029093-9.

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The question of semantic connections between Early Christian funerary art and texts of Early Christian prayer for the dead – Ordo commendationis animae – remains controversial. Some scholars endorse the idea that iconographic programs of Roman catacombs and Early Christian sarcophagy can be traced back to the prayer. Others highlight the distinctions between them, emphasizing, that the oldest text of the Ordo commendationis animae cannot be dated earlier than the 4th century. Both the prayer and the funerary art embody the same themes of salvation and resurrection, often depicted through share

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11

Pedro, Julia Valeryevna. "Polytheism in the symbols of Roman Catacomb painting." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (June 5, 2012): 38–42. http://dx.doi.org/10.33920/nik-01-1207-07.

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Taking into account such important features of the symbol as the variability of its meanings and the dependence of its use on the cultural context in which it was formed, the article examines the influence of pagan ideas on the most famous symbols of the catacombs of the early Christian period to date. The most interesting are the images of the cross, the monogram, the fish (Ίχθύς) and the dove, which read their connection with the ancient cults of Mesopotamia, Egypt and Greece. The problem of interpreting the symbols of Christian art and the study of the totality of the meanings inherent in i

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Rabinovich, Irina. "Hawthorne’s Rome – A city of evil, political and religious corruption and violence." Ars Aeterna 9, no. 1 (2017): 1–6. http://dx.doi.org/10.1515/aa-2017-0001.

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Abstract Hawthorne’s Rome is the home of dark and evil catacombs. It is a city haunted by evil spirits from the past that actively shape the romance’s plot. Rome’s dark gardens, endless staircases, hidden corners and vast catacombs, as well as the malodorous Jewish ghetto, affect Donatello’s and Miriam’s judgment, almost forcing them to get rid of the Model, Miriam’s persecutor. Hawthorne’s narrator’s shockingly violent, harsh and seemingly anti-Semitic description of the ghetto in Rome is just one among many similarly ruthless, and at times offensive, accounts of the city wherein Hawthorne si

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Tešić-Radovanović, Danijela. "Fish symbol and maritime motifs on late antique lamps from Central Balkans." Zbornik radova Filozofskog fakulteta u Pristini 52, no. 4 (2022): 277–304. http://dx.doi.org/10.5937/zrffp52-41296.

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Elements of Christian visual culture appeared in various media in monumental and applied art during the late antique period, from painted decoration in the catacombs, through funerary monuments, to utilitarian objects such as jewellery and lamps. The paper analyses the symbolic meaning of fish and maritime motifs in the context of the late antique visual culture of the Mediterranean and their meaning within the Interpretatio Christiana, as well as the appearance of these motifs on late antique lamps. Ten lamps with maritime motifs or in the form of fish or dolphins are known from the territory

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Tiurina, Svetlana Nikolaevna. "The Sacrifice of Isaac in the Religious Art of Jews and Christians: The Philosophical Antagonism of Law and Truth." Культура и искусство, no. 3 (March 2025): 10–21. https://doi.org/10.7256/2454-0625.2025.3.73539.

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The article examines the iconography of the Sacrifice of Isaac (Akedah) in Jewish and Christian religious art of late antiquity. The focus of the study is on the frescoes of the Dura-Europos synagogue (3rd century CE) and the paintings of the Catacombs of Peter and Marcellinus (3rd–4th centuries CE), interpreted through the philosophical opposition of Law and Truth, as proposed by Alain Badiou. In Jewish tradition, the Akedah symbolizes fidelity to the Law and the covenant with God, while in Christianity, it is reinterpreted as a prophecy of Christ's sacrifice, reflecting a radical break with

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15

Arnold, Jeremy W. H. "Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism - Edited by Herbert L. Kessler and David Nirenberg." Religious Studies Review 37, no. 4 (2011): 277. http://dx.doi.org/10.1111/j.1748-0922.2011.01557_4.x.

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16

Dmytrenko, Nataliia. "ICONOGRAPHY OF "THE LAST SUPPER" AND ITS ORIGINS IN THE MONUMENTS OF THE EARLY CHRISTIAN ERA." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 98–108. http://dx.doi.org/10.33838/naoma.28.2019.98-108.

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The article deals with the works of monumental painting, decorative and applied art and art of the book miniature of the early Christian era with the first images that refer to the prototypes of the "Last Supper". The research of iconography and the origins of the plot, namely, the influence of Roman art on the formation of iconography and artistic works of Christian art at its earliest stages of creation is the main line of the article. The main problems of identification of the plot, its symbols and use in various art forms are highlighted.In the study of the iconography of the plot "The Las

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Vargas, Michael. "Caves and Ritual in Medieval Europe AD 500–1500, ed. Knut Andreas Bergsvik and Marion Dowd (Oxford and Philadelphia: Oxbow Books, 2018; rpt. 2022), vi, 314 pages, color and b/w ill." Mediaevistik 35, no. 1 (2022): 308–10. http://dx.doi.org/10.3726/med.2022.01.23.

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Abstract European medievalists know that in the past caves, cut-rock enclosures, and catacombs could become churches, places of monastic retreat, burial sites, and loci of saintly power. Perhaps too commonly, however, we have little memory of caves and their medieval uses inside Europe, recalling more easily the use of caves outside of Europe, for instance in Egypt or the Middle East, or on Europe’s periphery, as in Anatolia or the southern Iberian coast. One reason that so few examples come to mind of medieval Europeans putting caves to use has to do with archeological priorities. As the edit

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18

Rudoe, Judy. ""Reproductions of the Christian Glass of the Catacombs": James Jackson Jarves and the Revival of the Art of Glass in Venice." Metropolitan Museum Journal 37 (January 2002): 305–14. http://dx.doi.org/10.2307/1513097.

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19

Hnidyk, Iryna. "ICONS OF THE MOTHER OF GOD IN THE CULTURAL HERITAGE SPACE OF ROME." Ethnic History of European Nations, no. 68 (2022): 14–21. http://dx.doi.org/10.17721/2518-1270.2022.68.02.

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The images of the Mother of God in Italy represent a significant part of the cultural heritage of European and world sacred art and icon painting of various chronological periods and stylistic features. A special place in this dimension belongs to the icons of the Mother of God in Rome. Ever since the first centuries, images of the Virgin have been represented in the paintings of the Roman catacombs. The iconographic heritage of Rome represents different periods and a unique interweaving of styles. Over the centuries, ancient icons of the Mother of God have been kept in Rome, made both in the

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20

Prylipko, Iryna. "The ‘One’s own — Alien’ conflict in Lesia Ukrainka’s dramaturgy: ethnic-national and worldview aspects." Слово і Час, no. 1 (February 2, 2021): 22–38. http://dx.doi.org/10.33608/0236-1477.2021.01.22-38.

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The paper focuses on the specific features of the ‘One’s own — Alien’ conflict in the dramatic works by Lesia Ukrainka. The majority of her dramas and dramatic poems were written on the basis of foreign cultural phenomena, including the Ancient Greek, Biblical, and other topoi and images. Foreign cultural realities are aimed at the actualization of both the entire context of Ukraine and the writer’s autobiographic discourse in a recipient’s consciousness, forming the imagological paradigms ‘One’s own — Alien,’ ‘Me — Another’. Upon involving the imagological theories, the author of the paper tr

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Fialko, O. Ye. "«AND GIRLS AMAZONS ACCUSTOMED TO ARMS, HORSES AND HUNTING…»." Archaeology and Early History of Ukraine 36, no. 3 (2020): 347–59. http://dx.doi.org/10.37445/adiu.2020.03.22.

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According to ancient authors Amazons treated their new-borns differently. They usually gave the boys to their fathers. At the same time, they raised the girls themselves. Moreover, the girls since childhood were taught martial art and hunting. That is, first of all they were taught archery and horseback riding. Based on these data, we drew attention to the Scythian girls’ graves with weapons. 17 such burials of girls are known today in the area of European Scythia. They are fixed on the territory of the Steppe Dnieper Region, Crimea, Transnistria and Don Region. All children’s grav

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Even, Yael. "Herbert L. Kessler and David Nirenberg, eds. Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism. Philadelphia: University of Pennsylvania Press, 2011. xii + 442 pp. index. illus. tbls. $69.95. ISBN: 978–0–8122–4285–0." Renaissance Quarterly 64, no. 3 (2011): 916–17. http://dx.doi.org/10.1086/662877.

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23

Osborne, J. "The Roman Catacombs in the Middle Ages." Papers of the British School at Rome 53 (November 1985): 278–328. http://dx.doi.org/10.1017/s0068246200011569.

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LE CATACOMBE ROMANE NEL MEDIO EVOL'uso medievale delle catacombe romane può essere diviso in tre periodi distinti sulla base della loro funzione. Dal tempo di Costantino fino alla metà del VI secolo, le catacombe venivano usate principalmente come luogo di sepoltura. Dopo l'interruzione di questa pratica causata dalle guerre gotiche, le catacombe continuarono ad essere mantenute dalla chiesa romana e ad essere visitate dai pellegrini che si recavano a Roma, ma soltanto per venerare le reliquie dei primi santi e dei martiri che esse contenevano. Dopo la seconda metà dell'VIII secolo, quando tut

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24

Lushchyk, M., V. Mokryy, Ya Moscvyak, and L. Teodorovych. "ASSESSMENT OF THE TOURIST ATTRACTIVENESS OF GLOBAL GEOPARKS IN EUROPE." Visnyk of Taras Shevchenko National University of Kyiv. Geology, no. 3(98) (2022): 15–22. http://dx.doi.org/10.17721/1728-2713.98.02.

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The article provides an inventory of geoparks from the list of the UNESCO Global Geoparks Network. It is noted that geoparks as important tourist attractions have been the subject of scientific attention of many authors, but the data presented in these publications are outdated and can not claim to be relevant to the current state of the geoparks network, as it is quite dynamic and changes every year. The research of the chosen topic in the scientific domestic and foreign literature is characterized. The insufficiency of the tourism research of the UNESCO geoparks system is pointed out. The st

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Buhagiar, Mario. "The Jewish Catacombs of Roman Melite." Antiquaries Journal 91 (August 5, 2011): 73–100. http://dx.doi.org/10.1017/s0003581511000126.

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AbstractThe Roman city of Melite, on the central Mediterranean archipelago of Malta, had, in common with other provincial outposts of the Empire, a diaspora Jewish colony for which there is testimony in six hypogea that prominently display the seven-branched Menorah. There is apparent evidence for a religious, and perhaps administrative, set-up in a Greek inscription that marks the burial place of a gerousiarch and lover of the ‘commandments’ who could have been the head of a Council of Elders in the synagogue of the city, and of his wife, Eulogia ‘the Elder’. The title presbytera used in the

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Nicholson, Paul T., Salima Ikram, and Steve Mills. "The Catacombs of Anubis at North Saqqara." Antiquity 89, no. 345 (2015): 645–61. http://dx.doi.org/10.15184/aqy.2014.53.

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27

Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.

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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the in

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Felle, Antonio Enrico. "Recenti acquisizioni epigrafiche da catacombe romane." Mélanges de l’École française de Rome. Antiquité 106, no. 1 (1994): 43–69. http://dx.doi.org/10.3406/mefr.1994.1839.

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Amine, Laila. "Africa in William Demby's The Catacombs and Love Story Black." African American Review 55, no. 2-3 (2022): 163–78. http://dx.doi.org/10.1353/afa.2022.0020.

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Moffitt, John F. "Balaam or Isaiah in the catacomb of Priscilla?" Konsthistorisk Tidskrift/Journal of Art History 66, no. 1 (1997): 77–87. http://dx.doi.org/10.1080/00233609708604424.

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Shishlina, N. I., D. S. Kovalev, and E. R. Ibragimova. "Catacomb culture wagons of the Eurasian steppes." Antiquity 88, no. 340 (2014): 378–94. http://dx.doi.org/10.1017/s0003598x00101061.

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The origin and development of wheeled vehicles continues to fascinate today no less than when Stuart Piggott (1974) first wrote about the subject inAntiquity40 years ago. A growing number of examples from the steppes of southern Russia and Ukraine are providing new insights into the design and construction of these complex artefacts. A recent example from the Ulan IV burial mound illustrates the techniques employed and the mastery of materials, with careful selection of the kinds of wood used for the wheels, axles and other elements. Stable isotope analysis of the individual interred in this g

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Trematerra, Amelia, and Gino Iannace. "The acoustics of the catacombs of “San Callisto” in Rome." Journal of the Acoustical Society of America 134, no. 5 (2013): 3970. http://dx.doi.org/10.1121/1.4830465.

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Croci, Chiara. "Reused From Banquet to Grave: Gold Glass, a “Popular” Medium in Late Antiquity?" Eikon / Imago 11 (March 1, 2022): 47–55. http://dx.doi.org/10.5209/eiko.78845.

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Gold glass bottoms generally found in Roman catacombs, are some of late antiquity’s most enigmatic objects. Originally conceived as vessels, once they were broken, their bases were reemployed to be embedded in the mortar sealing of the slabs of certain loculi. Drawing on the different hypotheses on the origins of the bowls or glasses these bottoms were obtained from, and reflecting on the reasons for and ways of using these glass bottoms to decorate loculi, this paper aims to reassess the position of gold glass in the culture of late antiquity by questioning its pertinence or link to "popular"

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34

Cvetković, Branislav. "Zaglavlje Dekaloga u Hvalovom zborniku: prilog semantici srednjovjekovne iluminacije." Ars Adriatica, no. 4 (January 1, 2014): 155. http://dx.doi.org/10.15291/ars.493.

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This article is dedicated to the interpretation of the header before the text of the Ten Commandments on fol. 150 of the Hval Codex. The author is drawing attention to a gloss in the margin to the left of the banner which has not been addressed in the earlier scholarly literature nor recorded in the facsimile transcription of 1986. The rectangular banner consists of a lozenge net filled with gold lilies while three gold interlace crosses of a complex shape are placed on top of the banner. The gloss next to it was written in blue ink as an abbreviated word under a line. It is a rather common ab

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Cardona, David. "I. ABTEILUNG - Excavations at St. Paul’s Catacombs: New Evidence at an Old Site." Mitteilungen zur Christlichen Archäologie 25 (2019): 9–41. http://dx.doi.org/10.1553/micha25s9.

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Kozintsev, A. G. "Okunev Culture and the Dene-Caucasian Macrofamily." Archaeology, Ethnology & Anthropology of Eurasia 51, no. 2 (2023): 66–73. http://dx.doi.org/10.17746/1563-0110.2023.51.2.066-073.

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The article discusses the linguistic affi liation of the Okunev people. Arguments are cited favoring the idea that they spoke a Dene-Caucasian language belonging to the Yeniseian branch. This is indirectly evidenced by genetic and cultural ties between Okunev ancestors and Native Americans, by parallels to Okunev art in prehistoric China and on the northwestern coast of North America, and by Okunev type petroglyphs in northern Kashmir, where, in addition, a linguistic isolate is preserved—Burushaski, a language related to Yeniseian. Being a relict population, which remained in the place from w

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Griesheimer, Marc. "Genèse et développement de la catacombe Saint-Jean à Syracuse." Mélanges de l’École française de Rome. Antiquité 101, no. 2 (1989): 751–82. http://dx.doi.org/10.3406/mefr.1989.1648.

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Carletti, Carlo. "Nuove iscrizioni dalla catacomba della ex vigna Chiaraviglio sulla via Appia." Mélanges de l’École française de Rome. Antiquité 106, no. 1 (1994): 29–41. http://dx.doi.org/10.3406/mefr.1994.1838.

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Handl, András. "From Slave to Bishop. Callixtus’ Early Ecclesial Career and Mechanisms of Clerical Promotion." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 25, no. 1 (2021): 53–73. http://dx.doi.org/10.1515/zac-2021-0013.

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Abstract Bishop Callixtus I of Rome (217?–222?) is well known for his position as manager of the κοιμητήριον, the earliest subterranean community burial ground, today known as the Catacombs of Callixtus. Less well documented, but particularly formative is, however, Callixtus’ early ecclesial career starting with his recognition as an authentic confessor shortly after his return from the mines of Sardinia. This contribution aims to shed some light on this formative period and explores the mechanisms behind Callixtus’ promotion to paid ecclesial ministry. It argues that Callixtus’ association wi

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Galeyev, Bulat M. ""Prometei" in the Stalin Catacombs: Festival of Light, Prague, CSFR, 28 July-4 August 1991." Leonardo 27, no. 5 (1994): 440. http://dx.doi.org/10.2307/1576105.

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Halawa, Angilata Kebenaran, David Eko Setiawan, Alton Perejon Tahya, and Andhy Readhy Sitanala. "Suatu Refleksi Teologis: Memaknai Karya Seni Catacomb Dan Implikasi Bagi Pembinaan Warga Gereja." Kharisma: Jurnal Ilmiah Teologi 2, no. 2 (2021): 107–23. http://dx.doi.org/10.54553/kharisma.v2i2.65.

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Jemaat dalam sebuh gereja membutuhkan pembinaan. Pembinaan Warga Gereja ialah suatu usaha atau tindakan pengorganisasian warga gereja, untuk melengkapi dan melatih warga jemaat agar iman kepada Yesus Kristus bertumbuh. gereja perlu membina jemaat agar semakin bertumbuh di dalam Kristus melalui berbagai bentuk. Seperti halnya, orang Kristen mula-mula, mereka menginspirasi diri mereka melalui lukisan didalam Catacomb atau sebuah Lorong yang dijadikan sebagai tempat orang yang sudah meninggal. Mereka menginspirasi diri mereka melalui lukisan-lukisan yang ada di dalam salah satu koleksi Kristen mu

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GIULIANI, Raffaella. "Scene di mestiere nelle catacombe. Il restauro del cubicolo dei Bottai nel cimitero di Priscilla." Mitteilungen zur Christlichen Archäologie 1, no. 9 (2005): 7–18. http://dx.doi.org/10.1553/micha9s7.

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Williamson, Paul. "Notes on the Wall-Paintings in Sant'urbano alla Caffarella, Rome." Papers of the British School at Rome 55 (November 1987): 224–28. http://dx.doi.org/10.1017/s0068246200009016.

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NOTE SUGLI AFFRESCHI MURALI DI SANT'URBANO ALLA CAFFARELLA A ROMANella prima parte di questo articolo, viene presa in esame una copia ad acquerello della scena della Crocefissione nella chiesa di Sant'Urbano alia Caffarella, conservata nella Biblioteca Vaticana, cod. Barb. lat. 4402. A seguito di questo studio viene proposto di mettere in discussione la data tradizionalmente accettata per quel dipinto (1011). Viene suggerito che una data più probabile per i dipinti sia la fine dell'XI secolo. Nella seconda parte dell'articolo viene spiegata una scena che non era mai stata identificata—essa mos

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Rebillard, Éric. "L'Église de Rome et le développement des catacombes. À propos de l'origine des cimetières chrétiens." Mélanges de l’École française de Rome. Antiquité 109, no. 2 (1997): 741–63. http://dx.doi.org/10.3406/mefr.1997.2003.

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Mastykova, Anna. "About Bracelets with Zoomorphic Ends from Dzhurga-Oba Necropolis in Eastern Crimea (Great Migration Period)." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 169–80. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.11.

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The paper considers burial 40 of Dzhurga Oba necropolis in the Eastern Crimea. Two bracelets, elements of a prestigious female costume of the second half of the 5th century and weapons (sword elements) were found in the catacomb. It is possible that there were two inhumations – male and female ones. Two bronze gilded bracelets from this burial have gold zoomorphic endings in the form of heads, usually interpreted as dragons, and a hinged lock in the form of a disk. The origins of this type of bracelets should be sought in the traditions of Mediterranean jewelry art. Bracelets with a lock in th

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Fadieieva, Kateryna, and Serhii Pustovalov. "Similarity and Early Development of Musical Art For Archeological Materials." Ukrainian musicology 49 (June 30, 2023): 89–99. http://dx.doi.org/10.31318/0130-5298.2023.49.298984.

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Musical art has always been an important part of human culture. Primitive archeology in Ukraine has almost never been the subject of such research. The purpose of the article is to review the data available in archeology, primarily in Ukraine. Historical, retrospective and comparative methods are used, as well as the method of analogies and the main provisions of music theory. In the process of socioanthropogenesis, the so-called Neanderthals (Homo Sapiens) attract attention. It is they, who have parts of the brain responsible for labor activity and language. This is impossible without t

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Ahlqvist, Agneta. "Maria, madre di Cristo, e altri madri presenti nell'arte funeraria paleocristian." Acta ad archaeologiam et artium historiam pertinentia 21 (September 21, 2017): 9–31. http://dx.doi.org/10.5617/acta.5529.

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Le prime scene nell’arte funeraria paleocristiana che comprendono la figura della Vergine sono “La Natività di Gesù” e “L’Adorazione dei magi”. Raccontano episodi della storia d’infanzia di Gesù e appaiono a partire dal quarto secolo. La scena “Mater Christi con Bambino in grembo”, solenne, rappresentativa e soprattutto narrativa, non appare nelle catacombe prima del sesto secolo. Le prime figure erroneamente identificate come Maria Vergine, datate al terzo-quarto secolo, sono semplicemente raffigurazioni di donne defunte, madri e/o mogli, seppellite nelle tombe. In concordanza con la consuetu

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Cumbo, Cristina, and Valentina Angela Cumbo. "Tra antico e contemporaneo: la simbologia paleocristiana alla base della progettazione architettonica degli edifici di culto." De Medio Aevo Avance en línea (July 12, 2023): 1–25. http://dx.doi.org/10.5209/dmae.87611.

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Le ultime grandi trasformazioni subite dalla città di Roma hanno visto il profondo mutamento del paesaggio urbano che ha abbandonato l’aspetto rurale per accogliere, in particolar modo nelle aree denominate in passato “borgate”, la tipologia edilizia della palazzina. Nell’ambito di questo procedimento, vengono introdotte le parrocchie le cui caratteristiche architettoniche e artistiche si rifanno, in molti casi, all’antichità paleocristiana e medievale. Attraverso l’esame di sei casi esemplari collocati nei quartieri Prati, Aurelio, Corviale, Parioli e Trieste si vogliono sottolineare innovazi

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Castex, Dominique, Philippe Blanchard, Sacha Kacki, Hélène Réveillas, and Raffaella Giuliani. "Le secteur central de la catacombe des Saints Pierre-et-Marcellin (Rome, I-IIIe siècle). Indices archéologiques d’une." Mélanges de l'École française de Rome. Antiquité, no. 123-1 (April 15, 2011): 276–82. http://dx.doi.org/10.4000/mefra.509.

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Castex, Dominique, Philippe Blanchard, Hélène Réveillas, Sacha Kacki, and Raffaella Giuliani. "Les sépultures du secteur central de la catacombe des Saints Pierre-et-Marcellin (Rome) : état des analyses bio-archéologique et perspectives." Mélanges de l’École française de Rome. Antiquité 121, no. 1 (2009): 287–97. http://dx.doi.org/10.3406/mefr.2009.10538.

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