Riflessioni sull’immaginario dionisiaco nella pittura tombale etrusca di età arcaica

Cerchiai, Luca

doi:10.4000/books.pcjb.4638

Cited by 2 publications

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“…On the right of the door, two armed figures are visible at right and left, while the central part of the wall is completely blank, with only a few interesting but ambiguous traces of painting (Adinolfi et al . ; Cerchiai ). On the upper side, above the entrance, an animal can be identified, but with some difficulty.…”

Section: The Study Of the Tomb Of The Blue Demons At Tarquiniamentioning

confidence: 99%

Recovery of a lost wall painting at the Etruscan Tomb of the Blue Demons in Tarquinia (Viterbo, Italy) by multispectral reflectometry and UV fluorescence imaging

et al. 2018

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This paper presents the results of a multispectral reflectometry and ultraviolet (UV) fluorescence study on the entrance wall of the Tomb of the Blue Demons in the Necropolis of in Tarquinia (Viterbo, Italy), which is a UNESCO site. The technique is based on the acquisition of a multispectral set ranging from 10 to 25 images, acquired at wavelengths between 370 and 1120 nm, with a spectral width of 50 nm per image, using both halogen lamps for visible and infrared images and high-purity UV diodes for fluorescence. Blind-source separation algorithms were then applied to the whole image set to extract from the resulting images the details not otherwise visible in the single spectral images. The multispectral technique presented was tested and improved upon over the last decade on ancient Etruscan and Roman wall paintings and, because of its quickness and cost-effectiveness, it can now be proposed as a powerful tool for the study of poorly conserved archaeological wall paintings and a preliminary diagnostic survey before any future conservation intervention on them.

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Section: The Study Of the Tomb Of The Blue Demons At Tarquiniamentioning

confidence: 99%

Recovery of a lost wall painting at the Etruscan Tomb of the Blue Demons in Tarquinia (Viterbo, Italy) by multispectral reflectometry and UV fluorescence imaging

et al. 2018

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Phallus zoomorphes et animaux ithyphalliques : expression de la liminarité dans la symbolique funéraire étrusque aux Ve s.-IVe s. av. J.-C.

TROCHET

2022

Archimede

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Résumé Les personnages ithyphalliques sont relativement courants dans le répertoire étrusque qui s’inspire notamment de l’imagerie attique pour concevoir son propre imaginaire lié à la fois au monde dionysiaque et à la définition du sauvage et de la liminarité. L’occurrence de plusieurs de ces représentations de phallus dans le corpus des tombes peintes n’est donc pas étonnante si l’on songe, non seulement à la réception particulière faite au culte dionysiaque en Étrurie qui rencontre une forme singulière en contexte funéraire, mais aussi à l’importance des thèmes liés à la subversion des codes civiques dans l’illustration du rituel funéraire. Il est intéressant de s’interroger sur les modalités de l’interprétation des images de phallus dans la peinture des tombes, en se focalisant notamment sur leur association visuelle et symboliques avec les animaux ou une forme d’animalité. La présence d’un phallus-oiseau dans une des tombes tarquiniennes du VIe s. av. J.-C. servira de fil rouge à cette enquête sur le rôle du phallus comme expression de l’animalité dans la peinture funéraire étrusque. Abstract Title: Zoomorphic phalluses and ithyphallic animals: the expression of liminality in 5th-4th c. BCE Etruscan tomb paintings Ithyphallic characters are relatively common in the Etruscan repertoire, which draws particular inspiration from Attic imagery to elaborate its own imagines. They are both linked to the Dionysian world as well as to what is savage and what is liminal. The occurrence of several of these representations of phalluses in painted tombs is therefore not surprising if we consider not only the particular reception given to the Dionysian cult in Etruria but also the importance of themes linked to the subversion of civic codes in illustrations of the funeral ritual. It is interesting to speculate about the modalities of the interpretation of phallus images in the painting of tombs, focusing in particular on their visual and symbolic association with animals or a form of animality. The presence of a phallus-bird in one of the Tarquinian tombs of the 6th century BCE will serve as a common thread for this investigation into the role of the phallus as an expression of animal life in Etruscan tomb painting.

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Riflessioni sull’immaginario dionisiaco nella pittura tombale etrusca di età arcaica

Cited by 2 publications

References 0 publications

Recovery of a lost wall painting at the Etruscan Tomb of the Blue Demons in Tarquinia (Viterbo, Italy) by multispectral reflectometry and UV fluorescence imaging

Recovery of a lost wall painting at the Etruscan Tomb of the Blue Demons in Tarquinia (Viterbo, Italy) by multispectral reflectometry and UV fluorescence imaging

Phallus zoomorphes et animaux ithyphalliques : expression de la liminarité dans la symbolique funéraire étrusque aux Ve s.-IVe s. av. J.-C.

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