Supplementum Epigraphicum GraecumAssisium. Epigrams illustrating wall paintings in a private house, 1st- early 2nd cent. A.D.

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1916 ◽  
Vol 8 ◽  
pp. 91-103
Author(s):  
Arthur Strong

This second series of the neglected wall-paintings of ancient Rome follows on that published in the last number of these Papers (vol. vii. 1914, p. 121 ff.). As before, the coloured plates are from water-colour drawings by Mr. F. G. Newton executed in the summer of 1913. The paintings, now reproduced on Plates III.–IX., adorn certain rooms in a private house in the Via de' Cerchi, the back of which is built against the southern slope of the Palatine, while the front abuts almost on the structures of the north-east end of the Circus Maximus; its vestibule, indeed, must have touched the northern line of the road that ran between the outer walls of the Circus and the hill, coinciding practically with the modern street.


2012 ◽  
Vol 3 (3) ◽  
pp. 136-139
Author(s):  
Dr. Madan Lal Rajyora ◽  
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Author(s):  
S. A. Polkhov ◽  

The article provides a Russian translation of the book IX of «Shincho̅-ko̅ ki». This part of the chronicle narrates the renewal of the war between Nobunaga and Honganji Temple. The followers of the True School of Pure Land besieged in Ozaka managed to inflict painful counterattacks against the forces of the “unifier of Japan”. Nobunaga detachments, trying to capture the Kizu fortress on the outskirts of Ozaka were surrounded and defeated. Ban Naomasa, one of his prominent military leaders, was killed, the army from Ozaka attacked the Tenno̅ji fortress, and only the help immediately rendered by Nobunaga saved the garrison from death. After that, Nobunaga blocked Ozakа on land and at sea. However, the fleet of the Mo̅ri house, which joined the ranks of Nobunaga opponents, and the allies of Mo̅ri were able to defeat the naval forces of Nobunaga and deliver provisions to Ozaka, which allowed Honganji to continue the struggle. Book IX also contains a description of the construction of Azuti Castle and its main tower (tenshu), Nobunaga’s residence. The unique information of the chronicle formed the basis for the further reconstruction of the tenshu’s appearance. The castle became the personification of the wealth and omnipotence of Nobunaga, a reflection of his claims to the role of supreme ruler of Japan. The wall paintings of the main tower halls manifest the influence of Confucianism, Buddhism and Taoism. The key symbols of the images are taken from Chinese political ideology.


2018 ◽  
Vol 12 (3) ◽  
pp. 48-58
Author(s):  
Mofida Weshahy ◽  
Ezzat Kadous ◽  
Khaled Alpasuoni ◽  
Sara Halim
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2002 ◽  
Vol 80 (1) ◽  
pp. 13-21 ◽  
Author(s):  
Sascha Beutel ◽  
Kerstin Klein ◽  
Gabi Knobbe ◽  
Peter Königfeld ◽  
Karin Petersen ◽  
...  
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