Momordica (Cucurbitaceae) types and accuracy of representation of the diagnostic characters: from Tacuinum sanitatis to American still lifes

Franchi, Gian Gabriele; Pacini, Ettore

doi:10.1007/s12210-017-0632-0

Cited by 3 publications

(4 citation statements)

References 15 publications

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“…The presence of the date palm which represents a sort of "tree of life" for Middle Eastern and North African populations is the most emblematic element of this context. The plant that "must dip its foot in the water and its head in the sky" (Figuier 1989) was considered immortal, just like the phoenix, in that it is capable of regenerating itself thanks to the new offshoots that emerge at the base of the plant crown (Kumbaric et al 2013). Hence, it is the emblem of inexhaustible fertility and the symbol of victory (Levi D'Ancona 1977).…”

Section: The Nile: Life and Fertilitymentioning

confidence: 99%

“…The portrayal of plants in art can take on various functions which vary in relation to the purpose of the work itself and the historical period to which it belongs (Moggi 1987;Pacini 1995;Caneva et al 2005). In particular, the type, meaning and method of representation are elements of particular significance when interpreting the intention of their inclusion in a work of art (Mattirolo 1911;Levi D'Ancona 1977;Mangiavacchi and Pacini 2002;Franchi and Pacini 2017).…”

Section: Introductionmentioning

confidence: 99%

“…Hence, there are three concepts that guide artists in the portrayal of plants: the real, the ideal and the symbolic, not thereby excluding any combined and interconnected intent (Pacini 1995). An iconographic study aimed at scientifically defining plant species represented in works of art is often contextualised in artistic monographs to better understand the subjects represented (Moggi 1982;Caneva 1992;Caneva and Carpaneto 2011;Franchi and Pacini 2017;Clauser et al 2018). They should not be seen as pure exercises in style but rather as a useful tool in interpreting a work of art and also as a valid support in restoration interventions (Caneva and Dinelli 1991).…”

Section: Introductionmentioning

confidence: 99%

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Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome

Caneva

Altieri

Kumbaric

et al. 2020

Rend. Fis. Acc. Lincei

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The use of symbols in architecture of the past centuries is evident, even if sometimes cryptic. The reasons behind the representation of plants in artistic and architectural contexts are of great interest as they help in their understanding. We analysed the plants carved in the Fountain of Four Rivers (Rome), designed by G.L. Bernini (mid-seventeenth century), through iconographic and historical documents. The carved plants (about 34 species) creates a natural and symbolic association with the selected rivers and continents. Some species are chosen to characterise various geographic contexts or fluvial and rupestrian habitats or are referred to the papal coats of arms (Innocent X Pamphilj). A certain number has auspicious connotation and takes a strong symbolic salvific meaning and protective against the evil’s threat. The Kircherian influence emerges in several iconographic choices, as well as the river selection and orientation, in a philosophical-religious logic linked to the Papacy and Christianity role.

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Section: The Nile: Life and Fertilitymentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome

Caneva

Altieri

Kumbaric

et al. 2020

Rend. Fis. Acc. Lincei

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“…Caneva & Bohuny 2003;Eichberger et al 2007;Caneva 2011;Yılmaz et al 2013;Caneva et al 2014). The portrayal of plants in art is decorative, symbolic, or descriptive and can take on various functions according to the purpose of the work itself and the historical period to which it belongs (Franchi & Pacini 2017;Caneva et al 2020). Many elements suggest that the choice of subject in the decoration of architecture and artifacts was not random or merely ornamental .…”

Section: Introductionmentioning

confidence: 99%

Human-nature relationships in the collections of the National Archaeological Museum of Naples: a botanical perspective

Motti

Ricciardi

Giulierini

2022

TJB

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The portrayal of plants depicted in works of art in antiquity can provide insights into human–nature relationships. We have identified the botanical species sculpted on marble and stone and depicted on wall paintings, vases, mosaics, and furnishings in the National Archaeological Museum of Naples, which houses the greatest collection of Greco-Roman antiquities in the world. In detail, the main objectives of the present study were to analyse and discuss the symbolic role of some plants more strongly linked to a deity or involved in other aspects of Greco-Roman life and customs. The attention was particularly devoted to their symbolic role in mythology, their use in medical and ritual practices, their artistic meaning in domestic representations and their representation in Nilotic scenes. URL: https://www.upjs.sk/pracoviska/botanicka-zahrada/odborne-aktivity/contents-abstracts/

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The flax in the “Flora’s image” in the Ariadne House (Pompeian area, Italy) as a symbol of feminine in a wedding sacred to the afterlife

Caneva

Bourmaud

Bellini

et al. 2023

Rend. Fis. Acc. Lincei

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In ancient time, life elements, like plants and animals, and unanimated forces of nature were usually associated with specific meanings related to deities and sacred rituals. In Roman archeology, the strong symbolic value of plants represented in wall paintings and artifacts was proved by several contributions, but this topic is often neglected. In this paper, for the first time, an interpretation is proposed for the plant represented in one of the most iconic paintings in Pompeii, the so-called “Flora” in Ariadne’s house. Here, the analyzed plant is picked by a girl turned away and holding a floral cornucopia, and it plays a relevant role in the scene. Through the analysis of its morphological elements, and comparing them with other ancient representations, we suggest its identification as flax (Linum usitatissimum L.). Flax was an economically and culturally very important plant, widely represented in objects and paintings in the Mesopotamian and Egyptian area. We also suggest that the meaning behind the choice of depict flax was also related to its classical attribution as a symbol of fertility and afterlife as well as linked to the “feminine” sphere. This interpretation, together with other elements of the images, strengthens the already proposed interpretation of the yellow-dressed girl a wife, which is let to go this life for an afterlife, in the figure of Persephone. Graphical abstract

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Momordica (Cucurbitaceae) types and accuracy of representation of the diagnostic characters: from Tacuinum sanitatis to American still lifes

Cited by 3 publications

References 15 publications

Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome

Plant iconography and its message: realism and symbolic message in the Bernini fountain of the four rivers in Rome

Human-nature relationships in the collections of the National Archaeological Museum of Naples: a botanical perspective

The flax in the “Flora’s image” in the Ariadne House (Pompeian area, Italy) as a symbol of feminine in a wedding sacred to the afterlife

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