'al fresco gemahlt[e] ... Helden=Geschichten': The myths of Troy and Aeneas in the baroque wall and ceiling painting

古代传说，尤其是特洛伊战争的传说，提供了大量的英雄，这些英雄可以作为代表统治者威望和自尊的识别数字。除了阿喀琉斯和赫克托耳等伟大的勇士外，特洛伊善良的英雄埃涅阿斯也值得一提。该项目调查古代传说是如何被用作统治者表现的战略工具的。对埃涅阿斯和特洛伊战争的描绘，重点是宫廷的墙壁和天花板绘画，使用来自神圣罗马帝国领土的案例研究，并与欧洲绘画节目进行比较。基于古代神话一直是欧洲文化的共同基础这一假设，该项目审查了主题对特定代表性、空间、仪式和忏悔背景的个别和灵活的适应。该项目聚焦于特洛伊战争和埃涅阿斯的故事，主要调查为什么这个主题被宫廷描绘所采用，以及它是如何在神圣罗马帝国的墙壁和天花板绘画中被接受和改编的。该项目主要考虑三个方面。基本的问题涉及到描绘的图像和图像意义，但社会和空间背景以及各个房间的仪式功能也是至关重要的。第三个方面是关于艺术转移的过程，以及哪些欧洲绘画被用作典范的问题。它的目的是更好地理解已经发展的形式和内容的接受、适应和转换。

The ancient legends, and especially the legend of the Trojan War, provide a huge number of heroes, which could be used as identification figures for representing the prestige and self-importance of a ruler. Besides the great warriors such as Achilles and Hector, the Trojan virtuous hero Aeneas should also be mentioned. The project investigates how the ancient legends were used as a strategic tool in the ruler’s representation. The depictions of Aeneas and the Trojan War, focused on the courtly wall and ceiling painting, are analysed using case studies from the territories of the Holy Roman Empire and comparisons with European pictorial programs. Based on the assumption that the ancient myths have been the shared foundation of the European culture, the project examines the individual and flexible adaption of the topics to the particular representative, spatial, ceremonial and confessional contexts. Focused on the myths around the Trojan War and the story of Aeneas, the project will primarily investigate why that subject matter was taken up in the courtly depictions and how it was received and adapted in the wall and ceiling painting in the Holy Roman Empire.The project considers three main aspects. The basic question concerns the depictions’ iconographic and iconological meaning, but also the social and spatial context and the ceremonial functions of the respective rooms are of central importance. The third aspect is concerned with the artistic transfer processes and with the question, which European paintings have been used as a model. It aims to obtain a better understanding of the reception, adaption and transformation of already developed patterns in form and content.