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Courtly places and sacred spaces: Th...

McFadden, Susanna.

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Courtly places and sacred spaces: The social and political significance of monumental wall painting in late antiquity.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Courtly places and sacred spaces: The social and political significance of monumental wall painting in late antiquity./
作者:	McFadden, Susanna.
面頁冊數:	485 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4518.
Contained By:	Dissertation Abstracts International68-11A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3292052
ISBN:	9780549346821

Courtly places and sacred spaces: The social and political significance of monumental wall painting in late antiquity.
McFadden, Susanna.

Courtly places and sacred spaces: The social and political significance of monumental wall painting in late antiquity. - 485 p.

Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4518.

Thesis (Ph.D.)--University of Pennsylvania, 2007.

This dissertation examines three different architectural complexes, each of which contained monumental painted figural programs. The first case study centers around a series of fragmentary frescoes from the Tetrarchic period of Roman Egypt (late third century CE) decorating an Imperial Cult chapel placed in the heart of the great Pharaonic Temple of Luxor. Part II focuses on an early fourth century CE imperial domicile in Rome (dubbed the Domus Faustae) and the painted procession of over-life-sized figures depicting the family of Constantine the Great which were discovered there. The last case study, Part III looks at an Islamic monument of the Umayyad period (c. 724-743) called Qusayr 'Amra, where paintings decorate nearly the entire interior surface of a bath house cum audience hall in the middle of the Jordanian Desert.

ISBN: 9780549346821Subjects--Topical Terms:

2122701
Art history.

Courtly places and sacred spaces: The social and political significance of monumental wall painting in late antiquity.
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245 1 0 $a Courtly places and sacred spaces: The social and political significance of monumental wall painting in late antiquity.
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500 $a Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4518.
500 $a Adviser: Ann Kuttner.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2007.
520 $a This dissertation examines three different architectural complexes, each of which contained monumental painted figural programs. The first case study centers around a series of fragmentary frescoes from the Tetrarchic period of Roman Egypt (late third century CE) decorating an Imperial Cult chapel placed in the heart of the great Pharaonic Temple of Luxor. Part II focuses on an early fourth century CE imperial domicile in Rome (dubbed the Domus Faustae) and the painted procession of over-life-sized figures depicting the family of Constantine the Great which were discovered there. The last case study, Part III looks at an Islamic monument of the Umayyad period (c. 724-743) called Qusayr 'Amra, where paintings decorate nearly the entire interior surface of a bath house cum audience hall in the middle of the Jordanian Desert.
520 $a These sites are examined in order to bring out of obscurity an artistic practice that is often overlooked in art histories of the period, namely the use of wall paintings in nonreligious spaces as a means of expressing contemporary social and political issues. This project is built upon the premise that all three of these monuments were important congregational interiors related to the late antique courts, what I call "aulic" spaces, in which the elites of late antiquity enacted highly ceremonial, hierarchical and programmed social rituals which were reflected in their respective decorative programs.
520 $a In each case study, I illustrate how the pictorial programs in these sites were designed to convey particular social and political messages. I describes the ways in which viewers' were introduced, and guided visually through the program of images so as to add to the overall ceremoniousness of their respective spaces. I argue that the process of viewing had the effect of sanctifying these painted environments, due to the ritualized encounter between the ruler image and viewer that was created.
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