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.

该项目考察了在知识的产生、系统化和排序的背景下，不同文化来源的人工制品的选择和等级，引用了Philipp Sarasin （Sarasin 2011）建立的知识历史的调查类别，他还强调了表现形式及其媒介的重要性。子项目1致力于重建红衣主教Filippo Antonio Gualtieri（1660-1724）的百科全书式收藏，迄今为止只进行了初步研究，其中包括来自不同文化的古物。重建的主题将是罗马曼弗罗尼宫的藏品展示，它从根本上打破了奇迹的美学，根据物体的群体及其来源引入了新的秩序系统。在这样做的过程中，该项目提出了关于其展示所反映的知识顺序的问题。这一分析得到了第二个项目的补充，该项目考察了古物知识的媒介性，即在17世纪下半叶和18世纪初的罗马，古物知识在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《贝罗里亚文集》，以及Athanasius Kircher的《埃及俄狄浦斯》和他的《中国插图》，以及Bianchini的《世界历史》和Montfaucon的《古物》，特别关注Bellori， Bianchini和Montafaucon关于美学和图像理论的陈述。分析的目的是找出对古物知识的选择和分层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为1700年左右罗马古代的文化政治意义的断言服务。考虑到Gualtieri藏品的展示，以及1700年左右罗马古代的广泛媒介，该项目旨在揭示藏品展示的潜在知识实践，以及古物知识的媒介性及其美学和认知前提。这样做是为了澄清这个问题，即这里所述的视觉和美学实践在多大程度上促进了材料的选择和对象的分层及其文化政治影响。

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.