Speaker
Description
For several decades, scientific analysis has played a pivotal role in advancing the field of archaeology, contributing to various objectives, such as interpreting the production and function of excavated artifacts, tracing the development of ancient trade networks, and mapping the migration of peoples across regions. Similarly, the study of artistic production has benefited from scientific methodologies, which have provided valuable insights into the making and meaning of art objects, as well as enabling the differentiation of authentic works from forgeries.
A particularly intriguing area of inquiry pertains to the examination of ancient Greek and Roman marble sculpture, which, as is well-established, was originally adorned with paint, a practice known today as polychromy. However, the precise appearance of ancient sculptures remains largely speculative. A primary obstacle to interpreting the original appearance of sculpture is the fact that, when traces of paint do survive in archaeological contexts, they are typically minute and highly fragmentary. The analysis and interpretation of these minuscule remnants present significant challenges, making it difficult for scholars to extrapolate meaningful visual reconstructions.
Recent advancements in digital imaging technologies have revolutionized the study of ancient painted surfaces, offering unprecedented opportunities to uncover painting materials otherwise invisible to the naked eye. Thus, imaging techniques provide critical data on the composition and application of ancient paint, thereby enriching our understanding of the visual appearance of these objects at the time of their creation. In this presentation, the discussion will begin with an examination of material evidence as a foundational approach to the study of painted surfaces on ancient sculptures. Subsequently, the presentation will integrate findings from a range of media and interdisciplinary research to deepen our understanding of ancient polychromy, ultimately bringing us closer to reconstructing the intended appearance and function of these sculptures in their historical and cultural context.
Perhaps unsurprisingly, the results of this multidisciplinary inquiry demonstrate that it is not only materials—such as pigments—that traversed regional boundaries, but also the techniques of paint application. Consequently, the underlying conceptual framework that underpins the creation of art likewise migrated and transformed itself across temporal and spatial contexts to meet the demands of the cultures in which it flourished.
