Welcome and Introduction, Rita Cosentino (Archeologo Direttore, Soprintendenza archeologia del Lazio e dell'Etruria Meridionale) Session 5 – Wall painting
Susanne Berndt-Ersöz (Stockholm University), “Wall paintings from Gordion in their Anatolian context”
Abstract: The excavations conducted by the University of Pennsylvania at Phrygian Gordion have so far only revealed wall paintings from one small building. This structure was prominently located between two large Middle Phrygian megara at the outer court of the citadel, and dates to the beginning of the Achaemenian period. The building was unique regarding both its decoration and architectural features. It was a semi-subterranean structure that consisted of one main chamber measuring ca 3.5 x 4.75 m with a narrow antechamber in front. The mud brick walls once decorated with painted plaster had collapsed already during the ancient period, probably because the walls had been robbed of their supporting timber beams. The painted plaster had at that time fallen to the floor and during the excavations, of the late 1950s, were thousands fragments of painted plaster recovered. Subsequent archaeologists have spend much time trying to puzzle these fragments together, and this paper aims to discuss both the motifs of the wall paintings and the architectural features of the building, and compare these aspects with paintings of contemporary structures in Asia Minor.
Cornelia Weber-Lehmann (Institut für Archäologische Wissenschaften und Kunstsammlungen der Ruhr-Universität Bochum), “Traces of Ionian artists and Anatolian subject matters in Tarquinian Late Archaic wall painting”
Abstract: Since the publication of Mauro Cristofani’s article “Storia dell’arte e acculturazione. Le pitture tombali arcaiche di Tarquinia” in Prospettiva 1976 and my own PhD- thesis “Typologie und Chronologie der archaischen Garbmalerei Tarquinias”, Marburg 1982 (published only in an extremely condensed form as: “Stile, cronologia e iconografia del periodo arcaico e classico” in Catalogo ragionato della pittura etrusca, Milano 1985, p. 46-56) it has been commonly accepted, that Ionian artists were active in painting tombs in Tarquinia during the second half of the 6th century B.C. They are to be considered as having given the striking impulse for the all-over painted walls with coherent figural scenes, which became the crucial form of decoration for at least 200 years. Detailed analysis of the phenomena (i.e. hands of the different painters) and an explanation for some extraordinary details in iconography, for which we can find good parallels in Anatolian art are still missing however. My own project of documenting the paintings of all accessible tombs in Tarquinia in life size tracings brought to light some amazing - up to now unknown – motives, which can surely serve as a further support of the theses of the origin of the artists, but furthermore for cultural and perhaps religious exchange in a more general way.