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首页> 外文期刊>American Journal of Archaeology: Official Organ of the Archaeological Institute of America >Egypt Embodied: The Vatican Nile
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Egypt Embodied: The Vatican Nile

机译：埃及体现：梵蒂冈尼罗河

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摘要

The Vatican Nile, a monumental marble sculpture once displayed in Rome's Iseum Campense with a companion Tiber, has had a rich post-Antique afterlife. Long in the collections of the Vatican, both sculptures were taken as spolia to Paris in 1797. Only the Nile returned to Rome. Though long understood as pendants, their physical divorce created a scholarly tradition that treats the Vatican Nile primarily in isolation, as the classic example of a broader sculptural type. The present article shifts the line of inquiry to an exploration of the multiple meanings of the artwork in its immediate and topographical surroundings, within the Iseum and Serapeum and the Campus Martius. It offers a reading of the pair of Nile and Tiber that takes into account the decoration of their bases, sculpted on all four sides, arguing that the works were intended to be seen in the round. The bases below and personifications above juxtaposed different visual conventions for depicting landscapes and their denizens, deliberately bringing together traditions about the founding of Rome and the place of Egypt in the empire.
机译：梵蒂冈尼罗河（Vatican Nile）是一座巨大的大理石雕塑，曾经与同伴台伯河（Tiber）一起在罗马的伊瑟姆·坎普塞（Iseum Campense）展出，拥有丰富的古董后世。在梵蒂冈的收藏中很久了，两个雕塑在1797年被视作前往巴黎的雕塑。只有尼罗河才回到罗马。尽管长期以来人们将其理解为坠饰，但他们的身体离异创造了一种学术传统，该传统将梵蒂冈尼罗河主要孤立地对待，作为更广泛的雕塑类型的经典例子。本文将探究的路线转向对艺术品的直接和地形环境的多种意义的探索，包括伊势（Iseum），塞拉皮（Serapeum）和校园马蒂乌斯（Campus Martius）。它提供了一对尼罗河和台伯河的读物，其中考虑了它们底座的装饰，雕刻在所有四个侧面上，并认为这些作品是打算在这一轮中看到的。下面的基础和上面的拟人化将描绘景观及其居民的不同视觉惯例并列在一起，故意将有关建立罗马和埃及在帝国中的位置的传统结合在一起。

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