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

我的研究计划调查了一些关于蒂沃利的哈德良别墅在早期现代欧洲的各种主要是艺术的接待的观点，因此不同于更传统的考古学方法。该项目涉及两个基本方面：1。它应该强调别墅作为一个古老的微观世界和全球化的领土，作为一个动态的接触区和艺术的互动空间的重要性，这些方面在最近的时代很大程度上被忽视了。特别是外国游客通过与古老文化背景的互动而获得的特殊体验（首先是从艺术家那里）引发了各种各样的建议。在18、19世纪欧洲民族意识形成时期，这些问题以不同的方式得到了阐述和概念化。在意大利和国外，由于它们从别墅到私人收藏和博物馆的重新语境化，移动装饰元素的接收和意义的变化将被分析。我的项目旨在为哈德良别墅的接待所带来的文化转移和互动提供一种新的解读，到目前为止，这一过程仅限于片面的还原主义方法，其重点是对艺术作品和建筑理念的简单接管。我想说的是，哈德良的别墅是一个摇篮，在这里，文化体验和互动构成了一个共同的、欧洲范围内的、关于国家文化认同的共同话语的基础，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。别墅的废墟本应作为一个动态的接触区，在这里发生了概念和形式的文化和跨国转移，最终转化为国家锻造的身份观念。因此，这里考虑的时间跨度是18世纪和19世纪。研究将主要集中在艺术家，建筑师和绘图员。在记录，测量，勾画别墅的表现和概念，结果和印象，罗马别墅的方面和意见传递给他们的同行和超越他们。所有这些都带来了以下问题：从这些经历中得出了什么建议、联想和影响？回到家后，它们是如何转化为实践的？在新的背景下，通过采用从罗马遗址中移除的装饰元素，传递了哪些信息？它是如何影响18世纪到19世纪的文化民族和民族认同的概念的？

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?