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THE FLOOR MOSAICS OF STOBI AND THEIR...

KOLARIK, RUTH ELLEN.

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THE FLOOR MOSAICS OF STOBI AND THEIR BALKAN CONTEXT.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE FLOOR MOSAICS OF STOBI AND THEIR BALKAN CONTEXT./
作者:	KOLARIK, RUTH ELLEN.
面頁冊數:	1077 p.
附註:	Source: Dissertation Abstracts International, Volume: 43-02, Section: A, page: 2910.
Contained By:	Dissertation Abstracts International43-02A.
標題:	Fine arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8216193

THE FLOOR MOSAICS OF STOBI AND THEIR BALKAN CONTEXT.
KOLARIK, RUTH ELLEN.

THE FLOOR MOSAICS OF STOBI AND THEIR BALKAN CONTEXT. - 1077 p.

Source: Dissertation Abstracts International, Volume: 43-02, Section: A, page: 2910.

Thesis (Ph.D.)--Harvard University, 1982.

The study of floor mosaics in the Balkans, where western and eastern Roman cultures met, contributes new insights into the evolution of Late Antique art. The Roman mosaics of the Balkans show diverse influences; no single style dominates. In the Tetrarchic period geometric mosaics with two-dimensional carpet-like patterns from monumental imperial complexes exemplify a Late Antique style based on western Roman precedents. Mosaics from the Constantinian period have somewhat more complex carpet patterns but their figural compositions resemble traditional eastern Roman emblemata. From the later fourth to mid-fifth century, simple geometric floors were the norm throughout the Balkans. Their patterns were gradually elaborated first with abstractedly rendered floral motifs and by mid-fifth century with figures. The second half of the fifth century saw the widespread introduction of large-scale figural panels such as the ubiquitous "fountain of life". Geometric patterns and figures were combined in ever more intricate variations in sixth-century mosaics. Figural scenes with allegories of the seasons or months, hunting scenes, and animal combats are also typical. By mid-sixth century mosaic making declined along with the prosperity of the provincial Balkan cities.Subjects--Topical Terms:

2122690
Fine arts.

THE FLOOR MOSAICS OF STOBI AND THEIR BALKAN CONTEXT.
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245 1 4 $a THE FLOOR MOSAICS OF STOBI AND THEIR BALKAN CONTEXT.
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500 $a Source: Dissertation Abstracts International, Volume: 43-02, Section: A, page: 2910.
502 $a Thesis (Ph.D.)--Harvard University, 1982.
520 $a The study of floor mosaics in the Balkans, where western and eastern Roman cultures met, contributes new insights into the evolution of Late Antique art. The Roman mosaics of the Balkans show diverse influences; no single style dominates. In the Tetrarchic period geometric mosaics with two-dimensional carpet-like patterns from monumental imperial complexes exemplify a Late Antique style based on western Roman precedents. Mosaics from the Constantinian period have somewhat more complex carpet patterns but their figural compositions resemble traditional eastern Roman emblemata. From the later fourth to mid-fifth century, simple geometric floors were the norm throughout the Balkans. Their patterns were gradually elaborated first with abstractedly rendered floral motifs and by mid-fifth century with figures. The second half of the fifth century saw the widespread introduction of large-scale figural panels such as the ubiquitous "fountain of life". Geometric patterns and figures were combined in ever more intricate variations in sixth-century mosaics. Figural scenes with allegories of the seasons or months, hunting scenes, and animal combats are also typical. By mid-sixth century mosaic making declined along with the prosperity of the provincial Balkan cities.
520 $a The thirty-three floor mosaics at Stobi, a city near the center of the Peninsula, are typical but modest examples of Balkan pavements. Extensive archaeological and architecutral evidence supplements an analysis of style in establishing their chronology. The only Roman mosaic discovered at Stobi dates to the third century and has an emblema-type marine composition. The next surviving mosaics are geometric pavements laid in the late fourth century. Stobi's early fifth-century prosperity supported four distinct workshops. One remained active there until the sixth century. Its early mosaics have simple large-scale patterns; the designs become more complex by mid-fifth century. During the second half of the century figured geometric carpets and large-scale figural compositions were added to its repertoire. The latest mosaics of the Stobi school are complex polychrome floors including figure carpets laid in the early sixth century.
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