The Augustus’ (Statue) Portraits Types
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Palíndromo (Online) |
Texto Completo: | https://www.revistas.udesc.br/index.php/palindromo/article/view/7933 |
Resumo: | This work approches the portrait at Augustan Era, the most important be- tween all roman emperors, in addition to having more time at the government. When assumed the control, Augustus had chance to start something new, taking a pictorial language consciously designed to ensure your government and as a way to change the preconceived ideas of the population. That said, the entire produc- tion of art was a testament to the power and authority of the emperor. The portraits type are approached based on Dietrich Boschung’s (1993) work. For this, this work starts from the relevance of this three-dimensional kind of representation had within the Roman society, both for the senatorial class and for the plebs, reaching the imperial repre- sentation of Augustus. Facing the nume- rous approaches currently practiced in studies on the History of Ancient Roman Art, we opted for that called “art and con- text,” which puts its focus on production, operation and reception of artistic works. To this end, authors like Peter Stewart (2008) are used to discuss how the art objects were produced, how worked and how they were received, with the main concern on the study of a Social History of Roman Art; and Paul Zanker (1988 and 2012), which considers that the visual arts are mainly a way to dialogue outlined the values and realities of society. Howe- ver, the formal and aesthetic issues have not become obsolete, the fact is that the answers to them are focusing on the his- torical context and adapted forms for images’ messages (Zanker, 2012). Thus, the art is now considered as an element of the communication and not as some- thing independent. |
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The Augustus’ (Statue) Portraits TypesOs tipos de (estátua) retrato de Augustoportrait Augustus roman art art and contextretrato Augusto arte romana arte e contexo This work approches the portrait at Augustan Era, the most important be- tween all roman emperors, in addition to having more time at the government. When assumed the control, Augustus had chance to start something new, taking a pictorial language consciously designed to ensure your government and as a way to change the preconceived ideas of the population. That said, the entire produc- tion of art was a testament to the power and authority of the emperor. The portraits type are approached based on Dietrich Boschung’s (1993) work. For this, this work starts from the relevance of this three-dimensional kind of representation had within the Roman society, both for the senatorial class and for the plebs, reaching the imperial repre- sentation of Augustus. Facing the nume- rous approaches currently practiced in studies on the History of Ancient Roman Art, we opted for that called “art and con- text,” which puts its focus on production, operation and reception of artistic works. To this end, authors like Peter Stewart (2008) are used to discuss how the art objects were produced, how worked and how they were received, with the main concern on the study of a Social History of Roman Art; and Paul Zanker (1988 and 2012), which considers that the visual arts are mainly a way to dialogue outlined the values and realities of society. Howe- ver, the formal and aesthetic issues have not become obsolete, the fact is that the answers to them are focusing on the his- torical context and adapted forms for images’ messages (Zanker, 2012). Thus, the art is now considered as an element of the communication and not as some- thing independent. O presente trabalho aborda o retrato na época de Augusto, o mais importante dentre todos os imperadores romanos, além de ter tido o maior tempo de governo. Ao assumir o poder, Augusto teve a chance de começar algo novo, adotando uma linguagem pictórica conscientemente pensada para assegurar o seu governo e como um modo para mudar as ideias preconcebidas da população. Isto posto, toda a produção de arte era um testemunho do poder e da autoridade do imperador.Os tipos de retrato são abordados com base na obra de Dietrich Boschung (1993). Para tal, parte-se da relevância que este tipo de representação tridimensional possuía dentro da sociedade romana, tanto para a classe senatorial quanto para a plebe, chegando à representação imperial de Augusto. Diante das inúmeras abordagens praticadas atualmente nos estudos referentes à História da Arte Romana Antiga, optou-se por aquela denominada “arte e contexto”, que coloca seu foco na produção, funcionamento e recepção das obras artísticas. Para tal, são utilizados autores como Peter Stewart (2008) que aborda como os objetos artísticos eram produzidos, de que modo funcionavam e de que maneira eram recebidos, tendo como preocupação central o estudo de uma História Social da Arte Romana; e Paul Zanker (1988 e 2012), que considera que as artes visuais são, sobretudo, uma maneira de diálogo delineada pelos valores e realidades da sociedade. Contudo, as questões formais e estéticas não se tornaram obsoletas, o fato é que as respostas para elas estão com o foco no contexto histórico e nas formas adaptadas pelas mensagens das imagens (Zanker, 2012). Desta maneira, a arte passa a ser considerada como um meio de comunicação social e não mais como algo independente. Universidade do Estado de Santa Catarina2016-10-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/793310.5965/2175234607132015065Palíndromo; Vol. 8 No. 16 (2016): Palíndromo; 065-079Palíndromo; v. 8 n. 16 (2016): Palíndromo; 065-0792175-23461984-9532reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/7933/6035Copyright (c) 2016 Mayara Amaral Fernandeshttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessFernandes, Mayara Amaral2023-03-24T14:37:40Zoai:ojs.revistas.udesc.br:article/7933Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2023-03-24T14:37:40Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false |
dc.title.none.fl_str_mv |
The Augustus’ (Statue) Portraits Types Os tipos de (estátua) retrato de Augusto |
title |
The Augustus’ (Statue) Portraits Types |
spellingShingle |
The Augustus’ (Statue) Portraits Types Fernandes, Mayara Amaral portrait Augustus roman art art and context retrato Augusto arte romana arte e contexo |
title_short |
The Augustus’ (Statue) Portraits Types |
title_full |
The Augustus’ (Statue) Portraits Types |
title_fullStr |
The Augustus’ (Statue) Portraits Types |
title_full_unstemmed |
The Augustus’ (Statue) Portraits Types |
title_sort |
The Augustus’ (Statue) Portraits Types |
author |
Fernandes, Mayara Amaral |
author_facet |
Fernandes, Mayara Amaral |
author_role |
author |
dc.contributor.author.fl_str_mv |
Fernandes, Mayara Amaral |
dc.subject.por.fl_str_mv |
portrait Augustus roman art art and context retrato Augusto arte romana arte e contexo |
topic |
portrait Augustus roman art art and context retrato Augusto arte romana arte e contexo |
description |
This work approches the portrait at Augustan Era, the most important be- tween all roman emperors, in addition to having more time at the government. When assumed the control, Augustus had chance to start something new, taking a pictorial language consciously designed to ensure your government and as a way to change the preconceived ideas of the population. That said, the entire produc- tion of art was a testament to the power and authority of the emperor. The portraits type are approached based on Dietrich Boschung’s (1993) work. For this, this work starts from the relevance of this three-dimensional kind of representation had within the Roman society, both for the senatorial class and for the plebs, reaching the imperial repre- sentation of Augustus. Facing the nume- rous approaches currently practiced in studies on the History of Ancient Roman Art, we opted for that called “art and con- text,” which puts its focus on production, operation and reception of artistic works. To this end, authors like Peter Stewart (2008) are used to discuss how the art objects were produced, how worked and how they were received, with the main concern on the study of a Social History of Roman Art; and Paul Zanker (1988 and 2012), which considers that the visual arts are mainly a way to dialogue outlined the values and realities of society. Howe- ver, the formal and aesthetic issues have not become obsolete, the fact is that the answers to them are focusing on the his- torical context and adapted forms for images’ messages (Zanker, 2012). Thus, the art is now considered as an element of the communication and not as some- thing independent. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-10-10 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.revistas.udesc.br/index.php/palindromo/article/view/7933 10.5965/2175234607132015065 |
url |
https://www.revistas.udesc.br/index.php/palindromo/article/view/7933 |
identifier_str_mv |
10.5965/2175234607132015065 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.revistas.udesc.br/index.php/palindromo/article/view/7933/6035 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2016 Mayara Amaral Fernandes http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2016 Mayara Amaral Fernandes http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade do Estado de Santa Catarina |
publisher.none.fl_str_mv |
Universidade do Estado de Santa Catarina |
dc.source.none.fl_str_mv |
Palíndromo; Vol. 8 No. 16 (2016): Palíndromo; 065-079 Palíndromo; v. 8 n. 16 (2016): Palíndromo; 065-079 2175-2346 1984-9532 reponame:Palíndromo (Online) instname:Universidade do Estado de Santa Catarina (UDESC) instacron:UDESC |
instname_str |
Universidade do Estado de Santa Catarina (UDESC) |
instacron_str |
UDESC |
institution |
UDESC |
reponame_str |
Palíndromo (Online) |
collection |
Palíndromo (Online) |
repository.name.fl_str_mv |
Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC) |
repository.mail.fl_str_mv |
palindromorevista@gmail.com || revistapalindromo@udesc.br |
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1797041814699507712 |