Inaug.-diss.--Frankfurt a.M. / Lebenslauf. "Erscheint nur ein Teil der ... Habhandlung hier im Druck." "Literaturverzeichnis": p. [44]-46.

Theis--Giessen. / Vita. Includes bibliographical references (p. 120-125).

Thesis--Munich. / Vita. Includes bibliographical references (p. 103).

Christian archaeology and art of the region under the jurisdiction of the Church of the East in the Late Antique and early Islamic period is an underresearched field of studies, which exists in between more developed disciplines such as Byzantine and Syriac studies as well as Early Christian, Sasanian and Islamic archaeology and art history. However, archaeological excavations of the last century, especially in southern Mesopotamia and the Persian Gulf region, now allow research to be conducted on the most important medium of artistic expression of the region - stucco. Considered from the technological, stylistic and iconographic point of view and within the aforementioned cultural contexts, it reveals that the Christian stucco production of the region was shaped by Sasanian traditions and contemporary Byzantine and Islamic influences, but also that it developed an innovative and highly creative vocabulary of forms and motifs. It was especially among the Gulf communities of Sir Bani Yas, al-Qusur and other sites that this transformative approach towards traditional and contemporary artistic models manifested itself within a short period between the late seventh and the early ninth centuries. Slightly more conservative is the character of Christian art of southern Mesopotamia in the eighth and early ninth centuries. An interesting exception is a relief found at a church in Koke in the region of Seleucia-Ctesiphon, in which the Sasanian technique of deep relief is combined with the Byzantine dress of the person represented. This fusion of culturally divergent elements testifies to the double identity of the Christians living under the Sasanians - and later, in the early Islamic caliphate - who were recognized as a part of society but distinctive for their religion.

Thesis (M.A.)--Carleton University, 2001. / Includes bibliographical references (p. 244-255). Also available in electronic format on the Internet.

L'étude est divisée en trois parties : La première partie est consacrée à un résumé historique de la Maqamat et de ses miniatures ainsi qu'un bref aperçu de l'art du livre arabe et de l'intérêt européen qu'il suscite. La deuxième partie présente les types de maisons trouvées suite aux fouilles archéologiques des sites de l'époque islamique. La troisième partie est consacrée aux différents types de maisons et d'aménagements intérieurs, décrits par les miniatures de Maqamat al Hariri. / The purpose of this work is to study the shape of the houses at the end of the Abbasid period, after five illustrated manuscripts of the Maqamat al-Hariri, historically attributed to the last period of the reign of the Abbasids . The images are in miniatures, containing details of various parts of the house, we have exploited in an attempt to configure and visualize the shape of the house that dates back to this period. The study is divided into three parts. The first part is devoted to a historical summary of the Maqamat and miniatures, as well as a brief overview of the Arabic art of the book, and the European interest.The second part is devoted to types of houses found in the excavations of various Islamic archaeological sites. The third part is devoted to various forms and portions of the house, shown by the miniatures of the Maqamat of al Hariri.

Les « Maîtres de Tabriz » ont suscité un vif intérêt chez les chercheurs. Ces céramistes, qui ont orné des édifices ottomans au 15ème et 16ème siècle, demeurent pourtant mystérieux à bien des égards. L’absence de biographies rend leur identification incertaine et engendre par conséquent de nombreuses théories sur leur origine historique et géographique. Concrètement, ces maîtres ne sont connus qu’à travers leur nom figurant dans les inscriptions monumentales ou dans les archives ottomanes. Une investigation dans les textes anciens a alors été essentielle pour combler le manque d’indices. Cependant, certaines de ces sources écrites ont fait l’objet d’extrapolations et de spéculations aléatoires. Pourtant, elles sont considérées comme des éléments probants, ce qui fausse évidemment l’identification de ces céramistes. Il a été primordial de revenir sur les éléments d’identification. La relecture des sources primaires permet en effet de dégager les notions concrètes et d’écarter les hypothèses infondées. Tel est l’enjeu de la première partie de cette étude qui met en évidence les connaissances que l’on possède des « Maîtres de Tabriz ». La deuxième partie est consacrée à l’analyse technique et ornementale des céramiques architecturales. Les œuvres des « Maîtres de Tabriz » sont relativement bien connues. Elles ont fait l’objet de nombreuses publications, mais ont souvent été abordées de manière transversale. Cette étude propose une nouvelle approche en mettant en relation la production de chacun des quatre groupes de céramistes. Cette démarche permet ainsi de saisir l’évolution de cette production tout en mettant en avant les corrélations et les disparités artistiques. / The « Masters of Tabriz » generate high interest among researchers. These ceramists, who decorated ottoman buildings in the 15th and 16th centuries, remain mysterious in many respects. The absence of biographies makes their identification uncertain and hence leads to many different theories about their historical and geographical origins. In reality, these masters are only known for their names found on monumental inscriptions and from ottoman chancery documents. Thus, investigation into ancient texts became essential to fill in the lack of evidence. However, some of these written sources have led to extrapolations and uncertain speculations. Yet these have been accepted and considered as conclusive elements, which obviously misrepresent these master ceramists. It is thus essential to return to the elements of identification. Rereading primary sources written in Arabic, Persian and Ottoman gives evidence to concrete notions and dismisses unfounded suppositions. As the shadow zones round them tend to lead to myths, the objective of the first part of this study is to rectify the knowledge in our possession of the “Masters of Tabriz”.The second part consists of a technical and ornamental analysis of the architectural ceramic tiles. The productions of the “Masters of Tabriz”, principally found in Bursa, Edirne, Istanbul and Jerusalem, are relatively well known. They have been the subject of many publications, but have often been treated transversally. This study offers a new approach, comparing the productions of the four groups of ceramists. This procedure brings to light the progression of this production as it focuses on the artistic correlations and disparities.

Der Bauschmuck des Jupitertempels in Baalbek ist durch sechs noch stehende Säulen mitsamt Gebälk sowie durch zahlreiche im Gelände verstreute Fragmente bezeugt. Durch die hier vorliegenden Untersuchungen konnten nun erstmals auch Fragmente nachgewiesen werden, die zum Aufbau der ansonsten verlorenen Tempelcella gehörten. Über eine möglichst umfassende Katalogisierung konnte der Materialbestand weit über das bisher bekannte Maße gesichert werden, so daß zum Beispiel mit 23 statt der in der Forschung bisher üblichen 2 Kapitelle gearbeitet werden konnte. Der Fokus der Arbeit liegt zunächst auf der Darstellung und Beschreibung des Tempels sowie seiner kulturellen und bauhistorischen Verortung in Baalbek selbst. Als feste Referenzpunkte außerhalb der Stadt wurden der Mars-Ultor- Tempel in Rom sowie der Bel-Tempel von Palmyra gewählt. Durch diese Vergleiche und durch einen erstmals in der Forschungsgeschichte vorgenommenen Vergleich der einzelnen Ornamentzonen untereinander konnte eine neue Datierung vorgenommen werden, wodurch der Aufbau und die Fertigstellung des Baus in die 2. Hälfte des 1. Jhs. n. Chr. zu rücken sind. Die Interpretation der Architekturornamentik führte zu mehreren, zum Teil völlig neuen Ergebnisse. Der große und schon vielfach bemerkte Reichtum in der Ausarbeitung des Bauschmucks zeigt das große Können, ein umfangreiches Repertoire und vor allem eine große Freiheit der ausführenden Steinmetzen, die wohl eher lokaler Abstammung waren. Darüber hinaus ist der extra für den Tempel entworfene Fries eine politische Aussage der Colonia Beirut/Heliopolis, mit dem die neu erworbene Stellung im Machtgefüge der levantinischen Städte demonstriert werden soll. Die immer wieder auftretende Unfertigkeit bei der Fertigstellung der Ornamentik ist systematisch und läßt sich mit den umfassenden finanziellen Problemen im römischen Steuerwesen beim Übergang zwischen der neronischen und der flavischen Epoche begründen. / The architectural decoration of the temple of Jupiter in Baalbek is testified by six still standing columns with their entablature and numerous fragments in the area around. This study presents for the first time also fragments from the construction of the otherwise lost cella of the temple. By building a nearly complete catalog of the fragments it was possible to secure the material stock far beyond it was known by now, so for example it was possible to work with 23 instead of the 2 capitals that had been used in former research. The mainly focus of the work is on the representation and description of the temple and its cultural and architectural location in the city of Baalbek. The temple of Mars-Ultor in Rome and the temple of Bel in Palmyra were chosen as fixed reference points. Through these comparisons and through a comparison of the individual ornamental zones with each other for the first time in the history of research, a new dating could be established, which places the construction and completion of the building in the 2nd half of the 1st century AD. The interpretation of architectural ornamentation led to several completely new results. The great and already noticed wealth in the elaboration of architectural ornamentation shows the great skill, an extensive repertoire and above all a great freedom of the executing stonemasons, who were probably of more local origin. Furthermore the frieze was specially designed for the temple and is a political statement of the Colonia Beirut/Heliopolis, which is intended to demonstrate the newly acquired position in the administratic structure of the Levantine cities. The recurrent incompleteness in the ornamentation is systematic and can be explained by the financial problems in the roman state finances during the transition between the Neronic and Flavian eras.The architectural decoration of the temple of Jupiter in Baalbek is testified by six still standing columns with their entablature and numerous fragments in the area around. This study presents for the first time also fragments from the construction of the otherwise lost cella of the temple. By building a nearly complete catalog of the fragments it was possible to secure the material stock far beyond it was known by now, so for example it was possible to work with 23 instead of the 2 capitals that had been used in former research. The mainly focus of the work is on the representation and description of the temple and its cultural and architectural location in the city of Baalbek. The temple of Mars-Ultor in Rome and the temple of Bel in Palmyra were chosen as fixed reference points. Through these comparisons and through a comparison of the individual ornamental zones with each other for the first time in the history of research, a new dating could be established, which places the construction and completion of the building in the 2nd half of the 1st century AD. The interpretation of architectural ornamentation led to several completely new results. The great and already noticed wealth in the elaboration of architectural ornamentation shows the great skill, an extensive repertoire and above all a great freedom of the executing stonemasons, who were probably of more local origin. Furthermore the frieze was specially designed for the temple and is a political statement of the Colonia Beirut/Heliopolis, which is intended to demonstrate the newly acquired position in the administratic structure of the Levantine cities. The recurrent incompleteness in the ornamentation is systematic and can be explained by the financial problems in the roman state finances during the transition between the Neronic and Flavian eras.

La ricerca di dottorato si inserisce nel quadro delle attività della MAIER – Missione Archeologica Italiana a Hierapolis di Frigia (Pamukkale, Turchia) e nel filone degli studi di architettura antica relativi ai complessi edilizi dei centri microasiatici. Vengono analizzati, in particolare, alcuni edifici e materiali architettonici di ordine ionico emersi dalle recenti indagini di scavo, allo scopo di fornire una ricostruzione dei monumenti nella planimetria e negli alzati, ma anche delle loro funzioni e le destinazioni d’uso; parallelamente si è sviluppata l’analisi del linguaggio formale delle architetture, allo scopo sia di definire le cronologie degli edifici sia di inserirli nel più ampio fenomeno della decorazione architettonica microasiatica, rintracciandone gli eventuali modelli, anche in rapporto al complesso problema dell’attività delle maestranze, per fornire un quadro aggiornato delle modalità di impiego dell’ordine ionico a Hierapolis di Frigia nel corso dell’età imperiale. La ricerca ha affrontato i due complessi santuariali del centro cittadino: nel Santuario di Apollo vengono analizzati il Tempio C, una serie di eccezionali capitelli ionici con collarino decorato e un consistente gruppo di elementi architettonici riferibili ad un portico di temenos (di ordine corinzio); nel Ploutonion si sono indagati alcuni materiali riferibil invece ad un portico ionico, posto a coronamento del theatron rituale. / This doctoral research is part of the activities of MAIER – Italian Archaeological Mission in Hierapolis of Phrygia (Pamukkale, Turkey) and of the investigation field on the ancient architecture in Asia Minor. Some buildings and architectural blocks of Ionic order, recently discovered, are analyzed in order to achieve a reconstruction of the monuments, not only of the plan and elevation, but also of the ancient functions and use of the buildings. The stylistic analysis is also very important, to determine the chronology of the monuments and to relate the Ionic architecture of Hierapolis with the other urban centres in Asia Minor and their architectural tradition during the Imperial period. The dissertation is focused on both the sanctuaries of Hierapolis: in the Sanctuary of Apollo, the research analyzes the Temple C, a series of Ionic capitals with decorated hypotrachelion, and a group of architectural blocks from a (Corinthian) temenos portico; in the Ploutonion, the focus is on a series of blocks from an Ionic Stoa, related to the cultic theatre.

La investigación se estructura en tres bloques temáticas bien definidos. El primero incide en el momento de inicio de esta arquitectura barcelonesa de la terracota, concretando su contexto, las causas de su génesis y señalando sus protagonistas, provenientes del campo de la arquitectura, de la creación escultórica y de la producción cerámica de la ciudad. Asimismo, se establece la evolución de la utilización de la terracota ornamental en la arquitectura de Barcelona a lo largo de los siglos XIX y XX, desde 1837 a 1968. A lo largo del segundo bloque se enumeran los centros de producción de este material. Se han descrito los procedimientos netamente escultóricos en la creación de modelos y en la realización de moldes. Proceso creativo que se complementa por su manufactura seriada, que utiliza los sistemas de producción de la industria cerámica. Igualmente hemos detallado las manipulaciones necesarias para su ubicación definitiva formando parte de la arquitectura, así como su relación con los elementos constructivos del edificio en el cual se ubica y con los otros materiales ornamentales. Por último, para el reconocimiento de este tipo de material ornamental y de esta arquitectura ha sido necesaria la verificación, mediante un examen exhaustivo, de los cambios sufridos a lo largo del tiempo y su posible deterioro, estableciendo su estado de conservación. Exámenes y análisis previos a cualquier propuesta de actuación de conservación-restauración, necesaria para su protección y pervivencia futura. Propuestas de conservación-restauración que se concretan en la identificación de este patrimonio, en la determinación de los procedimientos legales de protección y de los tratamientos de conservación-restauración que se concretan en la consolidación, limpieza, reintegración volumétrica y cromática y protección.