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Devicta Brittania. Fragment of a Roman sword scabbard in Krakow

100%
Gorzelany D.
Studies in Ancient Art and Civilization
|
2011
|
vol. 15
219-228
EN
The collection of the Princes Czartoryski Museum includes a gilded silver relief plaque, which was originally a part of a weapon. Its decoration is divided into two zones, the upper with a representation of a kneeling captive and Victoria writing on a shield, the lower showing Mars with a trophy; the two zones are separated by a frieze with a tripod flanked by antithetic griffins. Due to the context of the find, 19th-century publications erroneously described it as a phalera or a helmet cheek-piece, despite the controversies relating to the shape of the object. Based on the latest catalogues of the preserved fragments of Roman scabbard decorations, it was possible to identify the item correctly and date it.
2
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The art of re-creation: terracotta statuettes and their copies. About one ‘Tanagra’ from the Princes Czartoryski Museum

100%
Gorzelany D.
Studies in Ancient Art and Civilization
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2012
|
vol. 16
213-221
EN
Terracotta figurines of graceful young women discovered in the necropolis at Tanagra and found in many other places in the ancient world attracted great interest among collectors from the 1870s onwards. The simplicity of the processes used to facilitate large-scale production of clay products in the ancient world was exploited by antiquities dealers, who copied them in order to bring significant numbers of forgeries and pastiches onto the market, many of which are pieces now found in many museum collections. Conservation work, backed up by chemical testing, is currently underway to establish the authenticity of such statuettes and to create, from confirmed forgeries, simulations of the original appearance of the true antique with its full polychromy.
3
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An Unwelcome Aspect of Life: the depiction of Old Age in Greek Vase Painting.

100%
Gorzelany D.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 2
153-177
PL
The subject of old age is rarely addressed in Greek vase painting and usually appears in scenes from mythology or daily life. Older men in these representations are Homeric heroes, esteemed as kings, leaders and sages who have rendered great services to society; older people are also present in scenes of everyday life – usually as fathers or child supervisors. depending on the technique of decoration, these figures were characterised mostly through hair colour (as well as thinning hair and baldness in the case of men), a stooped and frail frame or an obese one. Besides, on red-figure and white-ground vessels it was possible to render facial wrinkles. These features apply predominantly to the images of men, because due to the social ideal of kalokagathia Athenian women were usually depicted as timelessly young. The article contains an analysis of selected depictions of the elderly in vase painting in terms of their iconography and the types of scenes in which they appear, including references to the written sources.
4
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Wątki epickie a malarstwo wazowe na przykładzie wybranych przedstawień motywów homeryckich: Doloneja

100%
Gorzelany D.
Collectanea Philologica
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2018
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issue 21
103-115
EN
The oral form of transmission of the early Greek epics allowed for the free shaping of content by the poet, whose task was to create a coherent narrative, intelligible for all the listeners, while maintaining its key feature – authenticity. This, however, lead to variability in content due to the desire to supplement, that is to show detailed presentations of events or to adapt these to local traditions. Incongruities in content between individual customary versions of these stories are illustrated in relics of vase painting. This article discusses the iconography of scenes associated with the Doloneia, book 10 of the Iliad, in reference to the contents of the epic. Based on a few examples still extant, a formal analysis was conducted on the themes of the main structure and secondary char­acters shown in Greek illustrations from the Archaic and Classical periods, as well as of southern Italic examples, allowing us to show how versions of the story formed at a given time and to reflect on the changes introduced.
5
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Carthage Imagined. From Giovanni Pastrone’s Cabiria (1914) to Game of Thrones (2012)

63%
Gorzelany D., Matusiak P.
Collectanea Philologica
|
2016
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issue 19
117-128
PL
Celem artykułu jest przybliżenie historiofotycznego obrazu wyobrażonego Kartaginy i Kartagińczyków oraz pokazanie, w jaki sposób wymyślone historie bazują na wizerunku antyku istniejącym w zbiorowej świadomości, jakie motywy były inspiracją dla twórców filmu i serialu (motywy historyczne, ale i ważne dla tła np. architektura – w ‘Cabirii’ punicka świątynia Molocha i wszechobecne egipskie zapożyczenia, w ‘Grze o tron’ XIX-wieczne obrazy J.M.W. Turnera), w jaki sposób za pomocą kodu antycznego mówiono o współczesnej ‘Cabirii’ polityce (starcia pacyfistów z nacjonalistami nawołującymi do podboju Afryki), czy wniósł coś do filmu D’Annunzianizm i jak ‘Cabiria’ wpisywała się w nurt historyczno-romański. Szczegółowa analiza dokonana została na dwóch poziomach – filologicznym oraz archeologicznym (obejmującym elementy architektoniczne budujące strukturę urbanistyczną, dekorację rzeźbiarską, wyposażenie wnętrz i przedmioty użytkowe oraz części stroju).
EN
The purpose of this paper is to present the historiophotic image of Carthage and Carthaginians and also to demonstrate what made-up stories take from the image of antiquity present in our collective consciousness, what motifs were an inspiration for the creators of both the film and the TV series (hictorical motifs but also architecture – very important for the background, e.g. Punic temple of Moloch in Cabiria or frequent Egyptian borrowings – and 19th century paintings by J.M.W. Turner), how ancient code was used to discuss politics of the day (in Cabiria, the fights between pacifists and nationalists calling for the conquest of Africa), whether D’Annunzianism had any impact on the film and how Cabiria fits into the historical-Roman trend. Antiquity presented and imagined as above were analysed on two levels – philological and archaeological (including architectural elements building up urban structures, decorative sculptures, interior decoration, everyday objects and clothing).
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