section

隠遁聖者の三連祭壇画

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

Prompt: 隠遁聖者の三連祭壇画の説明を説明してください。英語で出力して下さい。


section

隠遁聖者の三連祭壇画

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

Prompt: 隠遁聖者の三連祭壇画はどのように説明を説明していますか？英語で出力して下さい。


section

隠遁聖者の三連祭壇画

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

Prompt: 隠遁聖者の三連祭壇画に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

隠遁聖者の三連祭壇画

Each of the three panels portrays a different Christian anchorite saint.The left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Prompt: 隠遁聖者の三連祭壇画に焦点を当てて、その図像学を説明してください。英語で出力して下さい。


section

隠遁聖者の三連祭壇画

Each of the three panels portrays a different Christian anchorite saint.The left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Prompt: 隠遁聖者の三連祭壇画の図像学を説明してください。英語で出力して下さい。


section

隠遁聖者の三連祭壇画

Each of the three panels portrays a different Christian anchorite saint.The left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Prompt: 隠遁聖者の三連祭壇画はどのように図像学を説明していますか？英語で出力して下さい。


section

隠遁聖者の三連祭壇画

Each of the three panels portrays a different Christian anchorite saint.The left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Prompt: 隠遁聖者の三連祭壇画に関して、どのように図像学が議論されていますか？英語で出力して下さい。


section

隠遁聖者の三連祭壇画

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Prompt: 隠遁聖者の三連祭壇画に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


section

隠遁聖者の三連祭壇画

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Prompt: 隠遁聖者の三連祭壇画の絵画材料を説明してください。英語で出力して下さい。


section

隠遁聖者の三連祭壇画

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Prompt: 隠遁聖者の三連祭壇画はどのように絵画材料を説明していますか？英語で出力して下さい。


section

隠遁聖者の三連祭壇画

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Prompt: 隠遁聖者の三連祭壇画に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


section

隠遁聖者の三連祭壇画

Prompt: 隠遁聖者の三連祭壇画に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

隠遁聖者の三連祭壇画

Prompt: 隠遁聖者の三連祭壇画の参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

隠遁聖者の三連祭壇画

Prompt: 隠遁聖者の三連祭壇画はどのように参照を説明していますか？英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

隠遁聖者の三連祭壇画

Prompt: 隠遁聖者の三連祭壇画に関して、どのように参照が議論されていますか？英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


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プリマポルタのアウグストゥス

image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Prompt: プリマポルタのアウグストゥスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Augustus
Livia
Parthia
Prima Porta
Roman emperor
Vatican Museums
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Prompt: プリマポルタのアウグストゥスの抽象を説明してください。英語で出力して下さい。

Augustus
Livia
Parthia
Prima Porta
Roman emperor
Vatican Museums
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Prompt: プリマポルタのアウグストゥスはどのように抽象を説明していますか？英語で出力して下さい。

Augustus
Livia
Parthia
Prima Porta
Roman emperor
Vatican Museums
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Prompt: プリマポルタのアウグストゥスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Augustus
Livia
Parthia
Prima Porta
Roman emperor
Vatican Museums
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Prompt: プリマポルタのアウグストゥスに焦点を当てて、そのオリジナルを説明してください。英語で出力して下さい。


section

プリマポルタのアウグストゥス

The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Prompt: プリマポルタのアウグストゥスのオリジナルを説明してください。英語で出力して下さい。


section

プリマポルタのアウグストゥス

The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Prompt: プリマポルタのアウグストゥスはどのようにオリジナルを説明していますか？英語で出力して下さい。


section

プリマポルタのアウグストゥス

The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Prompt: プリマポルタのアウグストゥスに関して、どのようにオリジナルが議論されていますか？英語で出力して下さい。


section

プリマポルタのアウグストゥス

Augustus is shown in his role of "Imperator", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Prompt: プリマポルタのアウグストゥスに焦点を当てて、そのスタイルを説明してください。英語で出力して下さい。

Achilles
Alexander the Great
Augustus
Cupid
Doryphoros
Gaul
Germania
Hispania
Julius Caesar
Parthia
Polykleitos
Prima Porta
Roman emperor
Roman portraiture


section

プリマポルタのアウグストゥス

Augustus is shown in his role of "Imperator", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Prompt: プリマポルタのアウグストゥスのスタイルを説明してください。英語で出力して下さい。

Achilles
Alexander the Great
Augustus
Cupid
Doryphoros
Gaul
Germania
Hispania
Julius Caesar
Parthia
Polykleitos
Prima Porta
Roman emperor
Roman portraiture


section

プリマポルタのアウグストゥス

Augustus is shown in his role of "Imperator", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Prompt: プリマポルタのアウグストゥスはどのようにスタイルを説明していますか？英語で出力して下さい。

Achilles
Alexander the Great
Augustus
Cupid
Doryphoros
Gaul
Germania
Hispania
Julius Caesar
Parthia
Polykleitos
Prima Porta
Roman emperor
Roman portraiture


section

プリマポルタのアウグストゥス

Augustus is shown in his role of "Imperator", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Prompt: プリマポルタのアウグストゥスに関して、どのようにスタイルが議論されていますか？英語で出力して下さい。

Achilles
Alexander the Great
Augustus
Cupid
Doryphoros
Gaul
Germania
Hispania
Julius Caesar
Parthia
Polykleitos
Prima Porta
Roman emperor
Roman portraiture


section

プリマポルタのアウグストゥス

It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete.

Prompt: プリマポルタのアウグストゥスに焦点を当てて、そのポリクロミーを説明してください。英語で出力して下さい。

Apelles
Augustus
Prima Porta
Roman sculpture
Scotland
University of St Andrews
Vatican Museums


section

プリマポルタのアウグストゥス

It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete.

Prompt: プリマポルタのアウグストゥスのポリクロミーを説明してください。英語で出力して下さい。

Apelles
Augustus
Prima Porta
Roman sculpture
Scotland
University of St Andrews
Vatican Museums


section

プリマポルタのアウグストゥス

It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete.

Prompt: プリマポルタのアウグストゥスはどのようにポリクロミーを説明していますか？英語で出力して下さい。

Apelles
Augustus
Prima Porta
Roman sculpture
Scotland
University of St Andrews
Vatican Museums


section

プリマポルタのアウグストゥス

It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete.

Prompt: プリマポルタのアウグストゥスに関して、どのようにポリクロミーが議論されていますか？英語で出力して下さい。

Apelles
Augustus
Prima Porta
Roman sculpture
Scotland
University of St Andrews
Vatican Museums


section

プリマポルタのアウグストゥス

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this "type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness".

Prompt: プリマポルタのアウグストゥスに焦点を当てて、そのタイプを説明してください。英語で出力して下さい。


section

プリマポルタのアウグストゥス

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this "type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness".

Prompt: プリマポルタのアウグストゥスのタイプを説明してください。英語で出力して下さい。


section

プリマポルタのアウグストゥス

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this "type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness".

Prompt: プリマポルタのアウグストゥスはどのようにタイプを説明していますか？英語で出力して下さい。


section

プリマポルタのアウグストゥス

The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27 BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD 14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this "type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness".

Prompt: プリマポルタのアウグストゥスに関して、どのようにタイプが議論されていますか？英語で出力して下さい。


section

プリマポルタのアウグストゥス

The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus "receiving" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.

Prompt: プリマポルタのアウグストゥスに焦点を当てて、その発見を説明してください。英語で出力して下さい。

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus "receiving" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.

Prompt: プリマポルタのアウグストゥスの発見を説明してください。英語で出力して下さい。

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus "receiving" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.

Prompt: プリマポルタのアウグストゥスはどのように発見を説明していますか？英語で出力して下さい。

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus "receiving" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.

Prompt: プリマポルタのアウグストゥスに関して、どのように発見が議論されていますか？英語で出力して下さい。

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

プリマポルタのアウグストゥス

In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.

Prompt: プリマポルタのアウグストゥスに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

プリマポルタのアウグストゥス

In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.

Prompt: プリマポルタのアウグストゥスのさらなる読書を説明してください。英語で出力して下さい。


section

プリマポルタのアウグストゥス

In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.

Prompt: プリマポルタのアウグストゥスはどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

プリマポルタのアウグストゥス

In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.

Prompt: プリマポルタのアウグストゥスに関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

プリマポルタのアウグストゥス

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.

Prompt: プリマポルタのアウグストゥスの文脈で、肖像画とポリクロミーを説明してください。英語で出力して下さい。

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

プリマポルタのアウグストゥス

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.

Prompt: プリマポルタのアウグストゥスのポリクロミーに関する肖像画を説明してください。英語で出力して下さい。

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

プリマポルタのアウグストゥス

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.

Prompt: プリマポルタのアウグストゥスでは、どのようにポリクロミーの肖像画が説明されていますか？英語で出力して下さい。

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

プリマポルタのアウグストゥス

The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these "Primaporta type" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  "primus inter pares".  The head and neck were produced separately in Parian marble and inserted to the torso.

Prompt: プリマポルタのアウグストゥスのポリクロミーにおける肖像画の特徴を説明してください。英語で出力して下さい。

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

プリマポルタのアウグストゥス

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.

Prompt: プリマポルタのアウグストゥスの文脈で、胸甲救済とポリクロミーを説明してください。英語で出力して下さい。

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

プリマポルタのアウグストゥス

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.

Prompt: プリマポルタのアウグストゥスのポリクロミーに関する胸甲救済を説明してください。英語で出力して下さい。

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

プリマポルタのアウグストゥス

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.

Prompt: プリマポルタのアウグストゥスでは、どのようにポリクロミーの胸甲救済が説明されていますか？英語で出力して下さい。

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

プリマポルタのアウグストゥス

The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53 BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.

Prompt: プリマポルタのアウグストゥスのポリクロミーにおける胸甲救済の特徴を説明してください。英語で出力して下さい。

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

プリマポルタのアウグストゥス

During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: プリマポルタのアウグストゥスの文脈で、神聖な地位とポリクロミーを説明してください。英語で出力して下さい。

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


subsection

プリマポルタのアウグストゥス

During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: プリマポルタのアウグストゥスのポリクロミーに関する神聖な地位を説明してください。英語で出力して下さい。

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


subsection

プリマポルタのアウグストゥス

During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: プリマポルタのアウグストゥスでは、どのようにポリクロミーの神聖な地位が説明されていますか？英語で出力して下さい。

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


subsection

プリマポルタのアウグストゥス

During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's "divine nature", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: プリマポルタのアウグストゥスのポリクロミーにおける神聖な地位の特徴を説明してください。英語で出力して下さい。

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


section

積みわら

width_imperial     =  imperial_unit      = in museum             = Art Institute of Chicago city               = Chicago }}Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat . The title refers primarily to a twenty-five canvas series  which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny .The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut , the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Prompt: 積みわらに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Art Institute of Chicago
Chicago
Claude Monet
Farmington, Connecticut
Getty Center
Giverny
Hay
Haystack Near Giverny
Kunsthaus Zürich
Los Angeles
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Museum of Modern Art
Musée Marmottan Monet
Musée d'Orsay
Musée de l'Orangerie
National Museum of Western Art
Scottish National Gallery
Shelburne Museum
Tel Aviv Museum of Art
Vermont


section

積みわら

width_imperial     =  imperial_unit      = in museum             = Art Institute of Chicago city               = Chicago }}Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat . The title refers primarily to a twenty-five canvas series  which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny .The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut , the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Prompt: 積みわらの抽象を説明してください。英語で出力して下さい。

Art Institute of Chicago
Chicago
Claude Monet
Farmington, Connecticut
Getty Center
Giverny
Hay
Haystack Near Giverny
Kunsthaus Zürich
Los Angeles
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Museum of Modern Art
Musée Marmottan Monet
Musée d'Orsay
Musée de l'Orangerie
National Museum of Western Art
Scottish National Gallery
Shelburne Museum
Tel Aviv Museum of Art
Vermont


section

積みわら

width_imperial     =  imperial_unit      = in museum             = Art Institute of Chicago city               = Chicago }}Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat . The title refers primarily to a twenty-five canvas series  which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny .The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut , the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Prompt: 積みわらはどのように抽象を説明していますか？英語で出力して下さい。

Art Institute of Chicago
Chicago
Claude Monet
Farmington, Connecticut
Getty Center
Giverny
Hay
Haystack Near Giverny
Kunsthaus Zürich
Los Angeles
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Museum of Modern Art
Musée Marmottan Monet
Musée d'Orsay
Musée de l'Orangerie
National Museum of Western Art
Scottish National Gallery
Shelburne Museum
Tel Aviv Museum of Art
Vermont


section

積みわら

width_imperial     =  imperial_unit      = in museum             = Art Institute of Chicago city               = Chicago }}Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat . The title refers primarily to a twenty-five canvas series  which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny .The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut , the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Prompt: 積みわらに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Art Institute of Chicago
Chicago
Claude Monet
Farmington, Connecticut
Getty Center
Giverny
Hay
Haystack Near Giverny
Kunsthaus Zürich
Los Angeles
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Museum of Modern Art
Musée Marmottan Monet
Musée d'Orsay
Musée de l'Orangerie
National Museum of Western Art
Scottish National Gallery
Shelburne Museum
Tel Aviv Museum of Art
Vermont