Author: Stefano Riccioni

<div> <p>This paper aims to retrace the Armenian Studies’ tradition in Venice. This tradition moved from the firsts scientific publications edited by the Mechitarist Congregation of San Lazzaro to Ca’ Foscari University’s first chair of Armenian Studies, led by father Levon Zekyan in 1976. During that year, Adriano Alpago Novello founded the Study and Documentation Centre of Armenian Culture that in 1992 moved from Milan to Venice. The present paper focuses on the legacy of Alpago Novello through the analysis of his working methods and results in the context of the history of Armenian art and architecture. His methodology belongs to the field of the ecology of art.</p> &lt…

Armenian architecture. Historiography. Adriano Alpago Novello. Centro Studi e Documentazione sulla Cultura Armena. Cultural Ecology.[SHS.ARCHEO] Humanities and Social Sciences/Archaeology and PrehistorySettore L-ART/01 - Storia dell'Arte MedievaleArmenian architecture. Historiography. Adriano Alpago Novello. Centro Studi e Documentazione sulla Cultura Armena. Cultural EcologySettore L-OR/05 - Archeologia e Storia Dell'Arte Del Vicino Oriente Antico

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Dal kētos al sēnmurv? Mutazioni iconografiche e transizioni simboliche del kētos dall’Antichità al Medioevo (secolo XIII)

2016

Using literary and iconographic sources the paper discusses the image of kētos from Antiquity to Middle Ages. The kētos, according with Greek literature, was used in the myths of both Perseus and Andromeda and Heracles and Hesione. The archaic images of the sea-monster are identifiable on Corinthian vases, on which we have only heads of leonine form. From 5th century the classical type of kētos is distinguished from all other Greek sea-monsters by a long neck, fins (also like wings), long muzzle and corrugated upper surface (like a crocodile), and leonine forelegs. Separated from histories of Andromeda and Hesione, the kētos is represented as a mount of marine gods and, especially, Nereides…

HistoryVisual Arts and Performing Artsmedia_common.quotation_subjectsenmurv[SHS]Humanities and Social SciencesJonahketos[ SHS ] Humanities and Social SciencescetusMiddle AgesArtictectureGreek literatureMedieval bestiaryComputingMilieux_MISCELLANEOUSmedia_commonHistoire de l'artcetus kētos Jonah Medieval bestiary sēnmurv simorgh whaleArtMythology[SHS.ART]Humanities and Social Sciences/Art and art historywhale[ SHS.ART ] Humanities and Social Sciences/Art and art historysimorghcetus ketos Jonah Medieval bestiary senmurv simorgh whaleSettore L-ART/01 - Storia dell'Arte Medievale[SHS.ART] Humanities and Social Sciences/Art and art history[SHS] Humanities and Social SciencesCartographyHumanities

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Rome re-imagined : twelfth-century Jews, Christians and Muslims encounter the eternal city

2011

This collection examines the image of Rome through Arabic, Greek, Hebrew, Latin, and Persian descriptions of the eternal city. Placing the twelfth-century renaissance into a Mediterranean context. The city of Rome is revealed as a multi-vocal object of desire and a contested ideal.

Moyen Âge[SHS.ARCHEO] Humanities and Social Sciences/Archaeology and Prehistory[SHS.ARCHEO]Humanities and Social Sciences/Archaeology and PrehistoryHebrewArabicmedia_common.quotation_subjectThe RenaissanceContext (language use)ArtAncient historyObject (philosophy)Ideal (ethics)language.human_languageHistoire[ SHS.ARCHEO ] Humanities and Social Sciences/Archaeology and PrehistorylanguageClassicsComputingMilieux_MISCELLANEOUSmedia_commonPersian

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From Shadow to Light. Inscriptions in Liminal Spaces of Roman Sacred Architecture (11th–12th Century)

2019

[SHS.ARCHEO] Humanities and Social Sciences/Archaeology and Prehistorymedia_common.quotation_subjectS. Apollinare in RomeArt historyArtEpigraphyEpigraphy; Medieval Art; Medieval Rome; S. Pudenziana in Rome; S. Apollinare in Rome; Medieval door; Medieval PortalMedieval PortalSettore L-ART/01 - Storia dell'Arte MedievaleArchitectureMedieval doorLiminalityMedieval RomeS. Pudenziana in RomeMedieval Artmedia_commonShadow (psychology)

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Rewriting antiquity, renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia

2011

AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as sym…