Microcosm Hadrian's Villa. An Artistic Interaction Space in 18th and 19th Century Europe

我的研究计划是从不同的角度来探讨哈德良别墅在欧洲现代早期的各种接待，主要是艺术接待，因此不同于传统的考古学方法。 它将强调别墅作为一个古老的缩影和全球化的领土，作为一个动态的接触区和艺术互动空间的重要性，所有这些方面在近代都被忽视了。特别是外国游客通过与古代文化背景的互动而获得的特殊体验引发了（首先是艺术家）各种各样的建议。在18和19世纪欧洲民族意识形成期间，这些概念以不同的方式得到阐述和概念化。 移动的装饰元素的接受和意义的变化，由于他们从别墅到私人收藏和博物馆，在意大利以及国外的再语境化，将被分析。我的项目旨在提供一个新的阅读的文化转移和互动设置到位的接待哈德良的别墅，一个过程到目前为止仅限于片面的还原论的方法，其重点一直是简单的接管艺术作品和建筑理念。我想说的是，哈德良的别墅是一个摇篮，在那里，文化体验和互动构成了一个共同的、全欧洲范围的基础，用于关于民族文化身份的共同话语，并最终拓宽了那些参与别墅研究、成果和欣赏的个人的知识视野。这一现实促成了具体的民族观念的形成。别墅的废墟应该是一个充满活力的接触区，在那里发生了概念和形式的文化和跨国转移，最终转化为民族认同的思想。因此，18世纪和19世纪的时间跨度在这里考虑。研究将主要集中在艺术家，建筑师和绘图员。在记录，测量，素描别墅的表现和概念的结果和印象，方面和意见，罗马别墅被转移到他们的同龄人和超越他们。所有这一切都带来了以下问题：从这种经验中得出了什么建议、联想和效果，以及这些建议、联想和效果是如何在回国后转化为实践的？通过在新的环境中采用从罗马遗址中移除的装饰元素，传递了什么信息并加以阐述。它又是如何影响了18到19世纪的文化民族和民族认同的概念？

My research plan investigates some perspectives about the various, primarily artistic, receptions of Hadrian s Villa in Tivoli in the Early Modern Age in Europe and thusly differs from more traditional archeological approaches.The project deals with two fundamental aspects:1. It shall emphasize the importance of the Villa as an ancient microcosm and globalized territory, as a dynamic contact zone and artistic interaction space, all aspects that have largely been neglected in recent times. The exceptional experience made particularly by foreign visitors of the site through the interaction with an ancient, cultural context elicited (first of all from artists) various kinds of suggestions. These were elaborated and conceptualized in different ways during the period of the formation of a national consciousness in 18th and 19th century Europe.2. The reception and the change of meaning of mobile decorative elements, due to their recontextualisation from the villa onto private collections and museums, in Italy as well as abroad, will be analyzed.My project aims to provide a new reading of the cultural transfer and interaction set in place by the reception of Hadrian s villa, a process so far confined to one-sided reductionist approaches, whose focus has been the simple takeover of works of art and architectural ideas. I would like to argue that Hadrian s villa served as a cradle where cultural experiences and interaction constituted a common, European-wide base for a shared discourse about national cultural identities, and ultimately broadened the intellectual horizons of those individuals involved in the study, fruition, and appreciation of the villa. This reality contributed to the formation of specific, national ideas. The ruins of the villa should have functioned as a dynamic contact zone, where a cultural and transnational transfer of concepts and forms took place, which were eventually translated into nationally forged ideas of identity. The 18th and 19th centuries are therefore the timespan here taken into account.The research will be mainly focused on artists, architects and draftsmen. In recording, measuring, sketching the villa representations and notions results and impressions, aspects and opinions about the roman villa were transferred to their peers and beyond them. All that brings up following questions: What suggestions, associations and effects derived from such experience and how were they translated into practice once home? What messages have been handed down and elaborated through the adoption of the decorative elements removed from the roman site in new contexts. And how did it affect the concept of cultural nation and national identity in the 18th through the 19th century?