权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Pantheons: Sculpture at St Paul's Cathedral

万神殿：圣保罗大教堂的雕塑

基本信息

批准号：
AH/S006494/1
负责人：
Jason Edwards
金额：
$ 102.14万
依托单位：
University of York
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2019
资助国家：
英国
起止时间：
2019 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FS006494%2F1
关键词：
Pantheons Sculpture St Paul Cathedral

项目摘要

Long-C19 sculptural pantheons have become the subject of significant media & popular interest over the last 5 years in Britain and its former colonies, & across the contemporary US, thanks to debates generated by Black Lives Matter, the Rhodes Must Fall & All Monuments Must Fall movements, & in the wake of the Brexit decision & Trump presidency. These far-reaching debates encourage us to think anew about the single most significant long-C19 British sculptural pantheon, at St Paul's Cathedral (StP). Including more than 500 monuments by many of the most important artists working in the period, the pantheon depicts some of Regency, Victorian, & Edwardian Britain's most significant people, & addresses some of the UK & former empire's most pressing questions, including the status & treatment of slaves, prisoners of war, & native peoples. Unlike the early- to mid-C20th monuments to confederate soldiers, the StP pantheon is unlikely to be removed in the long term. Seen annually by more than 1.5M global visitors, it urgently needs to be reinterpreted for a diverse national & international public, interested to learn more about the meanings of British art, identity & history, & Britain's place in the world, in the long 19th & early 21st centuries.With the diverse questions of this changing, multicultural public in mind, Pantheons asks what characterises the pantheon in the period from the arrival of the first monuments in 1795 to the outbreak of WW1? What part does the pantheon play in British, European, & imperial art history in the long C19, & what does it tell us about the history of Britain as a nation & imperial power in the period between 1795 & 1914? Finally, what is the political status of the pantheon in the first quarter of the C21st, & how might it be democratically represented to, & understood by, the public?The project emerges from a sustained partnership between StP & the department of History of Art at the University of York. It also represents a sequel, in many ways, to the AHRC's former Mapping Sculpture 1851-1951 & Displaying Victorian Sculpture (University of York, Co-I) projects, bringing back together two of the curators of the Sculpture Victorious: Art in an Age of Invention, 1837-1901 exhibition at the Yale Center for British Art & Tate Britain (2014-2015). In so doing, the project seeks to cement sculpture's status as perhaps the key artistic medium for thinking about British national & imperial identity, complementing extant work on colonial landscapes & portraiture, imperial photography & graphic satire, by exploring the depiction of civic, artistic, & ecclesiastical worthies, as well as imperial & military actions, from the Napoleonic Wars to the Boer War & beyond. In addition, the project seeks to challenge the more canonical status of other national collections of British art, such as Tate Britain & the National Portrait Gallery, by returning attention to the first, & largest, state-sponsored pantheon of British art.The project will combine new archival & object-based research with an ambitious conceptual, digital, & media agenda that will enable visitors to the cathedral, & to its website, to explore a new, open-access ground plan of the cathedral complete with all the monuments; to examine, over time, the arrival & concentration of new monuments across the long C19th in different parts of the cathedral; & to ascertain & map, at any moment and across the period, the precise demographics of the people commemorated as well as the geopolitical reach of the British world. The project will also lead to four articles, an edited collection, & two books, one for the general public & one for scholars, the first for 150 years, concerned with the civic, ecclesiastical, artistic & military and imperial pantheons on display at St Paul's, as well as a new potential documentary for BBC4, hosted by the project's media advisor, Dr. Janina Ramirez.

过去 5 年里，由于“黑人生命也是命”、“罗德必须倒塌”和“所有纪念碑必须倒塌”运动以及英国脱欧决定和特朗普就任总统引发的辩论，长 C19 雕塑万神殿已成为英国及其前殖民地以及整个当代美国重要媒体和公众兴趣的主题。这些影响深远的争论鼓励我们重新思考位于圣保罗大教堂 (StP) 的英国最重要的长 C19 雕塑万神殿。万神殿内有 500 多座由该时期许多最重要的艺术家创作的纪念碑，描绘了摄政时期、维多利亚时期和爱德华时期英国的一些最重要的人物，并解决了英国和前帝国的一些最紧迫的问题，包括奴隶、战俘和土著人民的地位和待遇。与 20 世纪早期至中期的南方邦联士兵纪念碑不同，StP 万神殿从长远来看不太可能被拆除。每年有超过 150 万全球游客参观它，迫切需要为不同的国家和国际公众重新解读，他们有兴趣更多地了解英国艺术、身份和历史的含义，以及英国在漫长的 19 世纪和 21 世纪初在世界上的地位。考虑到这个不断变化的多元文化公众的各种问题，万神殿询问了自第一批纪念碑到达以来这一时期万神殿的特征。 1795年到第一次世界大战爆发？万神殿在漫长的 19 世纪英国、欧洲和帝国艺术史中扮演什么角色？它告诉我们 1795 年至 1914 年间英国作为一个国家和帝国的历史？最后，万神殿在 21 世纪第一季度的政治地位如何？它如何以民主方式向公众表达并被公众理解？该项目源于 StP 与约克大学艺术史系之间的持续合作。从很多方面来说，它也是 AHRC 之前的《映射雕塑 1851-1951》和《展示维多利亚雕塑》（约克大学，Co-I）项目的续集，将在耶鲁大学英国艺术中心和泰特英国美术馆举办的《胜利雕塑：1837-1901 年发明时代的艺术》展览（2014-2015 年）的两位策展人聚集在一起。通过这样做，该项目旨在巩固雕塑作为思考英国民族和帝国身份的关键艺术媒介的地位，通过探索从拿破仑战争到布尔战争及其他时期对公民、艺术和教会人物以及帝国和军事行动的描绘，补充殖民风景和肖像、帝国摄影和图形讽刺方面的现有作品。此外，该项目旨在通过重新关注第一个也是最大的国家资助的英国艺术万神殿，挑战泰特英国美术馆和国家肖像画廊等其他英国艺术收藏品的更规范地位。该项目将把新的档案和基于对象的研究与雄心勃勃的概念、数字和媒体议程相结合，使参观大教堂及其网站的游客能够探索新的开放式地面计划大教堂和所有纪念碑；随着时间的推移，检查在漫长的 19 世纪大教堂不同部分新纪念碑的到来和集中；确定和绘制在整个时期的任何时刻所纪念的人们的精确人口统计数据以及英国世界的地缘政治影响力。该项目还将出版四篇文章、一本经过编辑的文集和两本书，一本面向公众，一本面向学者，这是 150 年来的第一本，涉及圣保罗大教堂展出的公民、教会、艺术、军事和帝国万神殿，以及一部由该项目媒体顾问 Janina Ramirez 博士主持的可能为 BBC4 制作的新纪录片。