A Characterisation Study on Modern Bronze Sculpture: The Artistic Patinas of Nado Canuti

2018 ◽  
Vol 64 (1) ◽  
pp. 16-23
Author(s):  
Mila Crippa ◽  
Valeria Bongiorno ◽  
Paolo Piccardo ◽  
Maria Maddalena Carnasciali
Keyword(s):  
Author(s):  
Svetlana E. Malykh ◽  
◽  
Olga A. Vasilyeva ◽  

This article introduces five terracotta figurines acquired in Egypt by Vladimir S. Golenishchev and N. G. Ter-Mikaelyan and currently preserved at the Pushkin State Museum of Fine Arts. Three statuettes depict the child god Harpocrates with the attributes of royal power; two figurines demonstrate the identification of Harpocrates with the Greek god Eros. Most of the objects can be dated mainly to the Roman times, one is to be dated to the late Ptolemaic period. The places of finding or manufacturing of figurines are mostly unknown; however, according to a number of specific features, these could be towns of the Fayum Oasis, the Delta, and in one case — probably, Edfu. Terracotta figurines of Harpocrates with royal regalia are rare, especially in comparison with the wide-spread occurrence of terracottaе with Harpocrates holding a pot or cornucopia; all these data bring his functions as patron of fertility and defender of health to the fore. The presence of royal attributes seems to be a kind of secondary, partly decorative elements that only enhance the most popular aspects of terracotta images of Harpocrates. The type of figurines depicting Harpocrates sitting on a throne with the crown of the god Amun reproduces the iconography of small bronze sculpture. In other types of terracotta the royal attributes most frequently found are the double crown and — rarely — a nemes-headdress; the crown is usually surrounded by lotus buds, a favorite motive of Harpocrates’ iconography. The childish image of Harpocrates in the time of interaction between Eastern and Western cultures led to a natural synthesis of images of the child gods of Egyptian and Graeco-Roman worlds — Harpocrates and Eros. Apparently, such terracottaе, which had more Hellenistic than Egyptian features, were in demand by the population of different towns in Ptolemaic and Roman Egypt.


2003 ◽  
Vol 48 (2-4) ◽  
pp. 289-296 ◽  
Author(s):  
Gordon Bierwagen ◽  
Tara J Shedlosky ◽  
Kimberly Stanek

1968 ◽  
Vol 27 (2) ◽  
pp. 92
Author(s):  
Patrick J. Kelleher
Keyword(s):  

2012 ◽  
Vol 57 (3) ◽  
pp. 142-163 ◽  
Author(s):  
Doris E. Couture-Rigert ◽  
P. Jane Sirois ◽  
Elizabeth A. Moffatt
Keyword(s):  

1979 ◽  
Vol 24 (1) ◽  
pp. 40 ◽  
Author(s):  
Kenneth Morris ◽  
Jay W. Krueger
Keyword(s):  

Eikon / Imago ◽  
2017 ◽  
Vol 6 (2) ◽  
pp. 49-66
Author(s):  
Mirko Vagnoni

This is the text of the presentation “Charles V and the Fury at the Prado Museum: The Power of the King’s Body as Image” at the International Conference “El poder del la imagen en el Museo del Prado” (Madrid, December 12th-13th, 2017). By analysing the bronze sculpture Charles V and the Fury (Leone and Pompeo Leoni, 1549-1564. Prado Museum, Madrid), this paper aims to underline the necessity to study royal images in their context (with particular attention to their visibility) to understand better their social use and function. This type of methodological approach can be without any doubt very useful for the historiography in the overall analysis of the leader’s portrait and can stimulate new researches for the future and reformulate some of the traditional conceptions on this topic.


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