Knowledge practices in Rome around 1700. Giovan Pietro Bellori, Francesco Bianchini and Filippo Antonio Gualtieri`s “Museo delle cose antiche" and the Cultural Hierarchization of Objects.

该项目在知识的产生、系统化和排序的背景下审查了不同文化来源的人工制品的选择和等级划分，引用了Philipp Sarasin(Sarasin 2011)建立的知识史的调查类别，他还强调了表现形式及其中介性的重要性。分项目1致力于重建枢机主教菲利波·安东尼奥·瓜尔蒂耶里(1660-1724)的百科全书藏品，到目前为止，这些藏品只进行了初步研究，其中包括来自不同文化的古董。重建的主题将是罗马曼法菲宫的藏品展示，该宫殿从根本上脱离了奇迹美学，根据物品组及其来源引入了一种新的秩序系统。在这样做的过程中，该项目提出了关于其展示中反映的知识顺序的问题。这一分析还得到了第二个项目的补充，该项目考察了古代知识的中介性，即它在17世纪下半叶和18世纪初罗马版画媒介中的再现形式及其相关的视觉和美学实践。这将主要基于贝洛里安姆语料库，以及阿塔纳修斯·基尔彻的《埃及伊狄浦斯》和他的《中国插图》，以及卞基尼的《普遍的伊斯托里亚》和蒙富康的《解说》，特别关注贝洛里、卞基尼和蒙塔富康关于美学和意象理论的论述。分析的目的是找出对古物知识的选择和等级划分起决定性作用的认识前提。此外，该项目将揭示这些做法在多大程度上有助于断言1700年左右罗马古代的文化政治意义。考虑到Gualtieri收藏品的展出以及1700年左右罗马古代的广泛中间性，该项目旨在揭示藏品展示的潜在知识实践，以及古董知识的中间性及其美学和认知预设。这样做是为了澄清这里所述的视觉和美学做法在多大程度上促进了物品的材料选择和等级化及其文化-政治影响的问题。

The project examines the selection and hierarchization of artifacts of different cultural provenance in the context of the generation, systematization, and ordering of knowledge, invoking the categories of inquiry for a history of knowledge established by Philipp Sarasin (Sarasin 2011), who also highlighted the importance of forms of representation and their mediality. Subproject 1 is devoted to a reconstruction of the encyclopedically oriented collection of Cardinal Filippo Antonio Gualtieri (1660-1724), which has so far only been rudimentarily researched and which consisted of antiquaria from various cultures. Subject of the reconstruction will be the presentation of the collection in the Palazzo Manfroni in Rome, which had fundamentally broken away from the aesthetics of wonder introducing a new system of order according to groups of objects and their provenance. In doing so, the project raises questions about the orders of knowledge reflected in its display. This analysis is complemented by a second project, which examines the mediality of antiquarian knowledge, i.e., its re-presentation forms of showing in the medium of prints and its associated visual and aesthetic practices in Rome in the second half of the 17th century and the early 18th century. This will be primarily based on the Corpus Bellorianum, as well as Athanasius Kircher's Oedipus Aegyptiacus and his China Illustrata, as well as Bianchini's Istoria Universale and Montfaucon's Antiquité expliquée, with particular attention to Bellori's, Bianchini's, and Montafaucon's statements on aesthetics and image theory. The analysis has the goal to find out the epistemic preconditions that were decisive for the selection and hierarchization of antiquarian knowledge. Furthermore, the project will reveal to what extent these practices were in the service of the assertion of the cultural-political significance of Roman antiquity around 1700. Taking into account the display of the Gualtieri collection as well as the broad mediality of Roman antiquity around 1700 the project aims to uncover the underlying knowledge practices of the presentation of the collection as well as the mediality of antiquarian knowledge and its aesthetics and epistemic presuppositions. This will be done in order to clarify the question of the extent to which the visual and aesthetic practices stated here promoted a material selection and hierarchization of objects and its cultural-political effects.