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The revival of Byzantium through early twentieth century domestic collections in Greece: Tradition, modernity and gender
Museum History Journal Pub Date : 2020-07-02 , DOI: 10.1080/19369816.2020.1787634
Alexandra Bounia 1, 2
Affiliation  

ABSTRACT Between the two world wars, affluent and intellectual men and women in Greece assembled and displayed in their private homes in Athens collections of Byzantine and pseudo-Byzantine objects in order to recreate personal renderings of the ‘Byzantine world’. Some of these collections, like the one by Dionysios Loverdos, ultimately transformed into house museums; others, like the collection owned by Eleni Stathatos, were donated to institutions where they are exhibited to this day; finally, a few, like the one by Eleni Kanellopoulou-Zouzoula, were dispersed and disappeared once their owners passed away. In this paper, I discuss these collections and their development against the backdrop of the Byzantine revival in Greece and the support and promotion of Byzantium and its art by the Arts and Crafts movement in Britain. I focus on these collections as interior decoration; the appreciation and understanding these collections enjoyed, which varied according to the gender of the collector; and the changes in meaning as these collections went from the domestic to the institutional.

中文翻译:

拜占庭通过二十世纪初希腊国内收藏的复兴:传统、现代性和性别

摘要在两次世界大战之间,希腊富有和知识分子的男女聚集并在雅典的私人住宅中展示拜占庭和伪拜占庭物品的收藏,以重现“拜占庭世界”的个人效果图。其中一些藏品,如 Dionysios Loverdos 的藏品,最终变成了家庭博物馆;其他的,比如 Eleni Stathatos 拥有的收藏品,被捐赠给了至今仍在展出的机构;最后,一些,比如 Eleni Kanellopoulou-Zouzoula 的那只,在它们的主人去世后分散并消失了。在本文中,我在希腊拜占庭复兴以及英国工艺美术运动对拜占庭及其艺术的支持和推广的背景下讨论了这些收藏品及其发展。我把这些收藏作为室内装饰;这些收藏品所享有的欣赏和理解,因收藏家的性别而异;以及随着这些收藏从国内到机构的意义的变化。
更新日期:2020-07-02
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