Diss.--Institut für Kunstgeschichte--München--Ludwigs-Maximilians-Universität, 1995. / Bibliogr. p. 247-281. Index.

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Texte remanié de: Dissertation--Fakultät für Orientalistik--Heidelberg--Ruprecht-Karl-Universität, 1991. / Bibliogr. p. XII-XIV.

For a long time, Roman ideal sculptures have primarily been studied within the tradition of Kopienkritik. Owing to some of the theoretical assumptions tied to this practice, several important aspects of Roman visual culture have been neglected as the overall aim of such research has been to gain new knowledge regarding assumed Classical and Hellenistic models. This thesis is a collection of three studies on Roman ideal sculpture. The articles share three general aims: 1. To show that the practice of Kopienkritik has, so far, not produced convincing interpretations of the sculpture types and motifs discussed. 2. To show that aspects of the methodology tied to the practice of Kopienkritik (thorough examination and comparison of physical forms in sculptures) can, and should, be used to gain insights other than those concerning hypothetical Classical and Hellenistic model images. 3. To present new interpretations of the sculpture types and motifs studied, interpretations which emphasize their role and importance within Roman visual culture. The first article shows that reputed, post-Antique restorations may have an unexpected—and unwanted—impact on the study of ancient sculptures. This is examined by tracing the impact that a restored motif ("Satyrs with cymbals") has had on the study of an ancient sculpture type: the satyr ascribed to the two-figure group "The invitation to the dance". The second article presents and interprets a sculpture type which had previously gone unnoticed—The satyrs of "The Palazzo Massimo-type". The type is interpreted as a variant of "The Marsyas in the forum", a motif that was well known within the Roman cultural context. The third article examines how, and why, two motifs known from Classical models were changed in an eclectic fashion once they had been incorporated into Roman visual culture. The motifs concerned are kalathiskos dancers, which were transformed into Victoriae, and pyrrhic dancers, which were also reinterpreted as mythological figures—the curetes. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows: Paper 1: Accepted. Paper 3: Accepted.</p>

The present study was intended as a new approach to the study of the military equipment of the Late Assyrian period which has traditionally relied upon the pictorial representations of the palace reliefs. By examining extant artifacts from the first millennium in their own right, with the reliefs merely serving to contextualize them, a truer understanding of Assyrian arms and armour can be gathered. This is necessary because the artwork only provides us with a filtered view of the real world, the reliefs are as much works of propaganda as of history. The approach taken here is to first examine the existing weapons typologically, and then to evaluate whether such weapon types appear to be accurately represented in contemporary artwork. Textual sources are also used where they can aid in the discussion. Five categories of arms and armour were studied: swords and daggers, spearpoints, shields, armour and helmets. The quality and quantity of the items in these categories varied significantly, providing for a much better representative sample of some items than others. Further questions concerning the possible ritual, rather than military, use of some of the existing artifacts were raised. However, the main conclusions reached were that the reliefs suffer not only from a propagandistic viewpoint which sometimes obscures the reality of Assyrian warfare, but that they also suffer from artistic license and spatial restraints, the difficulties in representing three-dimensional objects in a two-dimensional manner, the possible unfamiliarity of the artists with changing military technology and methods of construction, and finally, our inability to understand artistic short-hand for what were commonplace objects to the contemporary viewer. These have led to misunderstanding both as to the dating and chronological changes in weaponry, and also to the tactics used by the Late Assyrian military. This study of the artifacts themselves reveals a more mundane, utilitarian, and conservative military force which shows both a basic homogeneousness throughout the empire, and the myriad tiny variables of an army on the move drawing weapons and troops from many regions.

La numérisation des plans-reliefs est un enjeu important pour la préservation de la centaine de maquettes de la collection, mais aussi pour la valorisation des anciennes places fortes françaises. Nous proposons ainsi une rétroconception des plans-reliefs appliquée aux fortifications bastionnées. L'approche KASToR (Knowledge based Approach: from Scale Model To 3D Replica) a pour centre une ontologie de la fortification bastionnée élaborée à partir de traités d'architecture militaire. Une bibliothèque d'objets paramétriques a ensuite été implémentée dans Grasshopper, un outil de programmation visuelle, afin de segmenter sémantiquement les relevés pour y ajuster automatiquement les ouvrages de fortification paramétriques. Notre proposition permet ainsi d'optimiser et de corriger la géométrie, mais également d'enrichir sémantiquement les données relevées, conditions auxquelles doivent répondre dorénavant les modèles 3D pour leur intégration dans des systèmes d'information / The digitizing of plans-reliefs is a critical issue for the preservation of the one-hundred scale models of the collection but also for valorization of the ancient French strongholds. Hence, we propose a reverse engineering of the plans-reliefs applied on the bastioned fortification. The KASToR approach (Knowledge based Approach: from Scale Model To 3D Replica) is based on an ontology of bastioned fortification which has been created thanks to treatises of military architecture. Then, a library of parametric objects is implemented in Grasshopper, a visual programming tool, in order to segment the surveys for the automatic adjustment of the parametric fortification works. Our proposal allows the geometrical correction and optimization but also the semantic enhacement of raw data, which are the conditions that now must be meet by 3D models for their integration in information systems

Cette thèse entre dans le cadre de la synthèse d'images de paysages s'appuyant sur une nouvelle modélisation des terrains par simulation dynamique de processus géomorphologiques. La restitution des phénomènes naturels agissant sur la création et l'évolution des reliefs semble un des moyens les plus sûrs pour obtenir des paysages réalistes. Après une présentation des différentes modélisations de terrain existantes, le modèle proposé est détaillé. Il s'appuie sur la création de terrains géologiquement contrastés sur lesquels sont appliqués des processus déterministes d'érosion. Le relief est constitué d'une surface topographique à laquelle est associée la représentation volumique d'un sous-sol, qui permet de déterminer en chaque point des paramètres géologiques intervenant dans la simulation. Celle-ci suit une méthode itérative utilisant des lois simulant l'érosion gravitaire et mécanique, la dissolution chimique et la sédimentation. L'écoulement et le transport de matière entre les points s'effectuent par le biais d'un graphe de parcours qui traduit la structure du réseau hydrographique. La simulation implique l'évolution (altimétrique et géologique) du relief et la création du réseau associé. Deux algorithmes de rendu sont ensuite proposés pour visualiser le relief modélisé. Ils incluent la représentation du réseau hydrographique et des lignes de crête. Le réalisme des images est accru par le plaquage sur le relief de textures naturelles de végétation, générées par une technique de spot noise et l'ajout d'effets visuels.

The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, sculptures in stone describing Cains´s murder of Abel and sculptures with the Massacre of the Innocents in Bethlehem according to the Bible. These pieces of medieval art are compared with the paintings of evil faces by some modern artists. The method used in the analysis is Panofsky´s iconological method. The result shows that the medieval art is formally more strictly structurer and that the modern artists have a more personal style. In addition to this fact is the different purpose of the different kinds of art. The medieval mural paintings are storytelling from the Bible and modern art is based on influences from other artists in art history and the artists´own ideas and thoughts in a more persoanl way of painting. The meaning in medieval art is more clear and obvious than that in the modern art. The conclusion reached at is that evil exists but that one cannont talk about a special face of the evil.

The present study was intended as a new approach to the study of the military equipment of the Late Assyrian period which has traditionally relied upon the pictorial representations of the palace reliefs. By examining extant artifacts from the first millennium in their own right, with the reliefs merely serving to contextualize them, a truer understanding of Assyrian arms and armour can be gathered. This is necessary because the artwork only provides us with a filtered view of the real world, the reliefs are as much works of propaganda as of history. The approach taken here is to first examine the existing weapons typologically, and then to evaluate whether such weapon types appear to be accurately represented in contemporary artwork. Textual sources are also used where they can aid in the discussion. Five categories of arms and armour were studied: swords and daggers, spearpoints, shields, armour and helmets. The quality and quantity of the items in these categories varied significantly, providing for a much better representative sample of some items than others. Further questions concerning the possible ritual, rather than military, use of some of the existing artifacts were raised. However, the main conclusions reached were that the reliefs suffer not only from a propagandistic viewpoint which sometimes obscures the reality of Assyrian warfare, but that they also suffer from artistic license and spatial restraints, the difficulties in representing three-dimensional objects in a two-dimensional manner, the possible unfamiliarity of the artists with changing military technology and methods of construction, and finally, our inability to understand artistic short-hand for what were commonplace objects to the contemporary viewer. These have led to misunderstanding both as to the dating and chronological changes in weaponry, and also to the tactics used by the Late Assyrian military. This study of the artifacts themselves reveals a more mundane, utilitarian, and conservative military force which shows both a basic homogeneousness throughout the empire, and the myriad tiny variables of an army on the move drawing weapons and troops from many regions.