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  • Digital Humanities and Cultural Heritage
  • 2017-2021
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DI-fusionarrow_drop_down
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
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  • Authors: Huet, Thomas;

    International audience; As with geography, ceramic decorations are essentially spatial organisations of features. Therefore, they should be analysed with spatial indexes. But spatial analyses, at the shard or the complete ceramic scale, are often difficult to set up, mostly because of the contiguity of graphical features.This paper presents a new method to record and analyse ceramic decoration. We use graph theory, with a GIS interface and Python programming, to analyse ceramic decoration in a bottom-up process. A priori definitions are minimal and only concern elementary units (morphological, graphical and plastic) which compose the ceramic.The studied corpus is composed of ceramic decorations belonging to the Mailhac I facies (Late Bronze Age), characterised by complex figurative compositions. Each decoration — complete or fragmented — is considered as a spatialized network (i.e. geometric graph). Graph theory provides tools to record and measure proximities between units and normalised indexes to compare different decorations, whatever their completeness. The GIS offers a graphic interface and ensures the correctness of spatial relationships between these units. The typology of these units is realised in a hierarchical oriented graph. This structure allows processes of generalisation (going up the tree) and specification (going down the tree), permitting comparison between units with different kinds of resolution and/or complexity. The method presented here can be used for other types of mediums(statuary, rock art, etc.).

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    Authors: Pioffet, Hélène; Ard, Vincent;

    The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

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    Archeologické Rozhledy
    Article . 2017 . Peer-reviewed
    License: CC BY
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    Authors: Gril-Mariotte, Aziza;

    Dès le XVIII e siècle, les motifs d'architecture ont participé à l'élaboration des compositions de « meubles à personnages », c'est-à-dire des toiles figuratives imprimées à la plaque de cuivre en une seule couleur, connues sous le terme éponyme de toile de Jouy 1. Cette technique d'impression, mise au point à partir des procédés de l'estampe et importée d'Angleterre, favorise l'apparition d'un nouvel art textile qui se caractérise par de grands dessins paysagers 2. Dans cette esthétique empruntée à la peinture de paysage, l'architecture sert de décor, parfois elle contribue à situer un espace. Ces motifs restent des éléments secondaires et anecdotiques dans un récit qui privilégie les relations entre les personnages et les situations pittoresques. Des bâtiments dans les jardins ou dans les scènes de vie à la campagne agrémentent ces nouvelles étoffes dans lesquelles la disposition des saynètes participe à la recherche de profondeur sur le fond écru de la toile. Au début du XIX e siècle, les meubles à personnages connaissent un profond renouvellement, passant de scènes bucoliques à des décors néoclassiques. L'évolution des thèmes s'accompagne d'une transformation décorative, le principe des saynètes dans un paysage laisse place à des compositions symétriques sur un fond orné. Le goût à l'antique, la littérature ou les monuments sont des thèmes à la mode. Les dessinateurs accordent une attention nouvelle aux sites historiques et aux vues de villes pour des motifs destinés à orner les murs et à fabriquer des lits. Cette profusion de monuments se manifeste de plusieurs manières, la valeur accordée à l'architecture évolue, entre souvenirs de voyages, références historiques et artistiques ou symboles politiques. Les choix des manufacturiers montrent que ces décors se trouvent investis d'une nouvelle signification, cherchant à séduire un large public. Ce phénomène s'accentue dans les années 1820 lorsque ces étoffes figuratives qui ont séduit la petite bourgeoisie par leurs prix abordables deviennent des produits très bon marché. L'analyse des propositions iconographiques et artistiques des fabricants permet d'appréhender cet engouement pour la représentation de l'architecture dans les toiles imprimées et son évolution durant la première moitié du XIX e siècle. Between the 1800’s and the 1840’s the printed textile manufactories in France have seized the theme of monuments representation, often associated to a country or a capital. This fascination for architecture leads emblematic images of countries – China, Egypt, Italia – or large capitals, especially Paris. If these images invite to a travel, imaginary or real, monuments are a way to incarnate a monumentalized history. In the politic context of the end of the Empire and the Restoration’s advent, these patterns feed a vision of France history where nostalgia of old time is a pretext to maintain political ideas. But these fabrics intended to bed’s manufacture have first as purpose to seduce consumers by offering them a travel.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dumons, Bruno;

    En choisissant de mettre à l’honneur des citoyens modèles, notamment grâce à la technique des décorations, la Troisième République a recours à une pédagogie par l’exemple pour installer durablement une culture méritocratique dans la société française. Pour cela, elle invente de nouvelles médailles tout en s’appropriant celles qui avaient été créées sous les régimes précédents comme la plus prestigieuse d’entre elles : la Légion d’Honneur (1802). Si l’historiographie des usages symboliques de la République a été rendue solide avec les travaux de Maurice Agulhon sur la Provence, moins connues sont ces « élites de l’honneur » dont les archives publiques ont conservé les traces. En explorant le célèbre « Var rouge », il nous a été permis de cerner le profil de ces élites méditerranéennes que l’État républicain a souhaité honorer entre 1870 et 1940. Parmi celles-ci, se distingue la catégorie des maires, en particulier ces « bons maires » qui œuvrent pour la « républicanisation » de la société. Ce sont quelques-unes de ces personnalités qui seront présentées dans ce chapitre. In designating model citizens through processes like decorations, the French Third Republic set examples to establish a culture of meritocracy in French society. It invented new medals and appropriated existing ones created by former regimes, including the most prestigious of all: the Légion d’Honneur (1802).Although the historiography of the Republic’s symbolic practices has been augmented by Maurice Agulhon’s works on Provence, this “elite of honour” whose trace remained in public archives is not well known. We explored the “Var rouge” (the predominantly left-wing Var département) to study the profiles of this Mediterranean elite which was honoured by the Republican state between 1870 and 1940. These include the category of mayors, in particular the “bons maires” who contributed to the “republicanisation” of society. This chapter presents a few of these personalities.

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    OpenEdition
    Article . 2017
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    Cahiers de la Méditerranée
    Article . 2017 . Peer-reviewed
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      OpenEdition
      Article . 2017
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      Cahiers de la Méditerranée
      Article . 2017 . Peer-reviewed
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  • Authors: Jandot, Céline;

    Les regards portés sur l’évolution de maisons, des périodes médiévales et modernes, par les sondages des murs en élévation, ont permis de restituer des états structurels anciens, des murs aux planchers, avec leurs ouvertures jusqu’aux toitures. La transformation chronologique des espaces pendant les mutations des XIXe et XXe siècle a pu être dévoilée par la prise en compte des aménagements de second œuvre (cloisons, placards) et des stratigraphies… de papiers peints. The views on the evolution of houses, from the medieval and modern periods, through surveys of the walls in elevation, have made it possible to restore ancient structural states, from the walls to the floors, with their openings to the roofs. The chronological transformation of the spaces during the changes of the 19th and 20th centuries could be revealed by taking into account the fittings of second work (partitions, cupboards) and stratigraphies… of wallpapers.

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  • Authors: Armbruster, Barbara;

    International audience

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  • Authors: Mahue, Alexandre;

    Brillants mécènes, tour à tour bâtisseurs et collectionneurs, les Forbin ont compté dans leurs rangs des parlementaires fameux, des militaires distingués, des femmes d'esprit et des ecclésiastiques célèbres. Ils illustrèrent la Provence par leurs résidences, leurs commandes artistiques et leurs ambitions. Organisée en partenariat avec la Ville d'Aix-en-Provence et les Amis des Salons et Jardins d'Olivary, la journée d'étude du 16 juin 2017 a réuni plusieurs spécialistes qui, à l'aune des découvertes les plus récentes, ont mis en lumières la place prépondérante de cette famille provençale dans la France du XVIIIe siècle. The Forbin family is one of the most prestigious family of Provence during the 17th and 18th centuries. Their castles, private mansions and other properties are remarkable and were imbued by their historical and social importance in France. Organized thanks to the City of Aix-en-Provence and the association "Les Amis des Salons et Jardins d'Olivary", the study day that was devoted to this family in the town-hall of Aix-en-Provence gathered specialists and students and revealed its predominant role in History.

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  • Authors: Debiais, Vincent;

    Session 203: Relics at the Interface between Textuality and Materiality, c. 400-c. 1200, II: Inscribing the Relics; International audience; Concentrating on inscriptions on late antique reliquaries from the eastern Mediterranean and on early medieval reliquaries from Western Europe, this panel explores how epigraphic texts participated in the presentation of the relics in their cult sites and how they contributed to explaining the relics’ or the reliquaries’ significance to the intended audience. The proposed papers approach the relations between textual contents, material characteristics of writing, supports and contexts via questions of visibility, legibility, and function of inscriptions.

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  • Authors: Porter, Yves;

    Abstract The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAla⁠ʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Groenen, Marc; Groenen, Marie-Christine;

    The iconographic, formal and technical analysis of the decoration elements of El Castillo and La Pasiega (Cantabria) highlights a heterogeneous distribution of the main themes, with distribution logics that are very different in each of the caves. In El Castillo, the main themes appear in distinct sectors, each one containing a central area with a high density of motifs and an end that sets its limit. Consequently, the decoration appears as a mosaic formed of small sets of motifs. In contrast, using the same analysis criteria for the cave of La Pasiega shows that, besides motifs of the same type spread in the network space, there are more structured decorated sets. The set of Gallery A shows an increasing number of motifs from the beginning to the end of the sector, with a maximum density at the level of the back areas. In turn, the set of Gallery B comprises animal figures that stood out all the more to the viewers that they were illuminated by natural light. Whereas the decoration of Gallery A is organised in the manner of deep sanctuaries, the ornamentation of the Salle du Mégacéros of Gallery B falls rather in the logic of open-air sanctuaries. info:eu-repo/semantics/published SCOPUS: ar.j

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    DI-fusion
    Article . 2019 . Peer-reviewed
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Journal of Archaeological Science Reports
    Article . 2019 . Peer-reviewed
    License: Elsevier TDM
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      Journal of Archaeological Science Reports
      Article . 2019 . Peer-reviewed
      License: Elsevier TDM
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  • Authors: Huet, Thomas;

    International audience; As with geography, ceramic decorations are essentially spatial organisations of features. Therefore, they should be analysed with spatial indexes. But spatial analyses, at the shard or the complete ceramic scale, are often difficult to set up, mostly because of the contiguity of graphical features.This paper presents a new method to record and analyse ceramic decoration. We use graph theory, with a GIS interface and Python programming, to analyse ceramic decoration in a bottom-up process. A priori definitions are minimal and only concern elementary units (morphological, graphical and plastic) which compose the ceramic.The studied corpus is composed of ceramic decorations belonging to the Mailhac I facies (Late Bronze Age), characterised by complex figurative compositions. Each decoration — complete or fragmented — is considered as a spatialized network (i.e. geometric graph). Graph theory provides tools to record and measure proximities between units and normalised indexes to compare different decorations, whatever their completeness. The GIS offers a graphic interface and ensures the correctness of spatial relationships between these units. The typology of these units is realised in a hierarchical oriented graph. This structure allows processes of generalisation (going up the tree) and specification (going down the tree), permitting comparison between units with different kinds of resolution and/or complexity. The method presented here can be used for other types of mediums(statuary, rock art, etc.).

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    Authors: Pioffet, Hélène; Ard, Vincent;

    The British Neolithic transition, occurring around 4000 BC, at least one millennium after the continental part of Northwest Europe, is still subject to important debate these days. Various studies suggest that the Neolithic start involved farming immigrants from various parts of the Continent. However, ceramics of the Early Neolithic of Britain became increasingly distinct from their Continental roots, particularly in the Southwest and Southeast of England. We recently completed two important projects, one on Early Neolithic British and Irish pottery and the other on Peterborough Ware, integrating a new way of considering these early productions through a technological approach and the observation of various steps of the chaîne opératoire. This paper is the opportunity to present preliminary results which shed a new light on the evolution of pottery wares during the fourth millennium BC in Southern Britain. It specifically highlights strong connections between Early Neolithic and Middle Neolithic pottery, in terms of style, but above in terms of manufacturing techniques.

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    Archeologické Rozhledy
    Article . 2017 . Peer-reviewed
    License: CC BY
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    Authors: Gril-Mariotte, Aziza;

    Dès le XVIII e siècle, les motifs d'architecture ont participé à l'élaboration des compositions de « meubles à personnages », c'est-à-dire des toiles figuratives imprimées à la plaque de cuivre en une seule couleur, connues sous le terme éponyme de toile de Jouy 1. Cette technique d'impression, mise au point à partir des procédés de l'estampe et importée d'Angleterre, favorise l'apparition d'un nouvel art textile qui se caractérise par de grands dessins paysagers 2. Dans cette esthétique empruntée à la peinture de paysage, l'architecture sert de décor, parfois elle contribue à situer un espace. Ces motifs restent des éléments secondaires et anecdotiques dans un récit qui privilégie les relations entre les personnages et les situations pittoresques. Des bâtiments dans les jardins ou dans les scènes de vie à la campagne agrémentent ces nouvelles étoffes dans lesquelles la disposition des saynètes participe à la recherche de profondeur sur le fond écru de la toile. Au début du XIX e siècle, les meubles à personnages connaissent un profond renouvellement, passant de scènes bucoliques à des décors néoclassiques. L'évolution des thèmes s'accompagne d'une transformation décorative, le principe des saynètes dans un paysage laisse place à des compositions symétriques sur un fond orné. Le goût à l'antique, la littérature ou les monuments sont des thèmes à la mode. Les dessinateurs accordent une attention nouvelle aux sites historiques et aux vues de villes pour des motifs destinés à orner les murs et à fabriquer des lits. Cette profusion de monuments se manifeste de plusieurs manières, la valeur accordée à l'architecture évolue, entre souvenirs de voyages, références historiques et artistiques ou symboles politiques. Les choix des manufacturiers montrent que ces décors se trouvent investis d'une nouvelle signification, cherchant à séduire un large public. Ce phénomène s'accentue dans les années 1820 lorsque ces étoffes figuratives qui ont séduit la petite bourgeoisie par leurs prix abordables deviennent des produits très bon marché. L'analyse des propositions iconographiques et artistiques des fabricants permet d'appréhender cet engouement pour la représentation de l'architecture dans les toiles imprimées et son évolution durant la première moitié du XIX e siècle. Between the 1800’s and the 1840’s the printed textile manufactories in France have seized the theme of monuments representation, often associated to a country or a capital. This fascination for architecture leads emblematic images of countries – China, Egypt, Italia – or large capitals, especially Paris. If these images invite to a travel, imaginary or real, monuments are a way to incarnate a monumentalized history. In the politic context of the end of the Empire and the Restoration’s advent, these patterns feed a vision of France history where nostalgia of old time is a pretext to maintain political ideas. But these fabrics intended to bed’s manufacture have first as purpose to seduce consumers by offering them a travel.

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    Authors: Dumons, Bruno;

    En choisissant de mettre à l’honneur des citoyens modèles, notamment grâce à la technique des décorations, la Troisième République a recours à une pédagogie par l’exemple pour installer durablement une culture méritocratique dans la société française. Pour cela, elle invente de nouvelles médailles tout en s’appropriant celles qui avaient été créées sous les régimes précédents comme la plus prestigieuse d’entre elles : la Légion d’Honneur (1802). Si l’historiographie des usages symboliques de la République a été rendue solide avec les travaux de Maurice Agulhon sur la Provence, moins connues sont ces « élites de l’honneur » dont les archives publiques ont conservé les traces. En explorant le célèbre « Var rouge », il nous a été permis de cerner le profil de ces élites méditerranéennes que l’État républicain a souhaité honorer entre 1870 et 1940. Parmi celles-ci, se distingue la catégorie des maires, en particulier ces « bons maires » qui œuvrent pour la « républicanisation » de la société. Ce sont quelques-unes de ces personnalités qui seront présentées dans ce chapitre. In designating model citizens through processes like decorations, the French Third Republic set examples to establish a culture of meritocracy in French society. It invented new medals and appropriated existing ones created by former regimes, including the most prestigious of all: the Légion d’Honneur (1802).Although the historiography of the Republic’s symbolic practices has been augmented by Maurice Agulhon’s works on Provence, this “elite of honour” whose trace remained in public archives is not well known. We explored the “Var rouge” (the predominantly left-wing Var département) to study the profiles of this Mediterranean elite which was honoured by the Republican state between 1870 and 1940. These include the category of mayors, in particular the “bons maires” who contributed to the “republicanisation” of society. This chapter presents a few of these personalities.

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    Article . 2017
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    Cahiers de la Méditerranée
    Article . 2017 . Peer-reviewed
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      OpenEdition
      Article . 2017
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      Cahiers de la Méditerranée
      Article . 2017 . Peer-reviewed
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  • Authors: Jandot, Céline;

    Les regards portés sur l’évolution de maisons, des périodes médiévales et modernes, par les sondages des murs en élévation, ont permis de restituer des états structurels anciens, des murs aux planchers, avec leurs ouvertures jusqu’aux toitures. La transformation chronologique des espaces pendant les mutations des XIXe et XXe siècle a pu être dévoilée par la prise en compte des aménagements de second œuvre (cloisons, placards) et des stratigraphies… de papiers peints. The views on the evolution of houses, from the medieval and modern periods, through surveys of the walls in elevation, have made it possible to restore ancient structural states, from the walls to the floors, with their openings to the roofs. The chronological transformation of the spaces during the changes of the 19th and 20th centuries could be revealed by taking into account the fittings of second work (partitions, cupboards) and stratigraphies… of wallpapers.

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  • Authors: Armbruster, Barbara;

    International audience

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  • Authors: Mahue, Alexandre;

    Brillants mécènes, tour à tour bâtisseurs et collectionneurs, les Forbin ont compté dans leurs rangs des parlementaires fameux, des militaires distingués, des femmes d'esprit et des ecclésiastiques célèbres. Ils illustrèrent la Provence par leurs résidences, leurs commandes artistiques et leurs ambitions. Organisée en partenariat avec la Ville d'Aix-en-Provence et les Amis des Salons et Jardins d'Olivary, la journée d'étude du 16 juin 2017 a réuni plusieurs spécialistes qui, à l'aune des découvertes les plus récentes, ont mis en lumières la place prépondérante de cette famille provençale dans la France du XVIIIe siècle. The Forbin family is one of the most prestigious family of Provence during the 17th and 18th centuries. Their castles, private mansions and other properties are remarkable and were imbued by their historical and social importance in France. Organized thanks to the City of Aix-en-Provence and the association "Les Amis des Salons et Jardins d'Olivary", the study day that was devoted to this family in the town-hall of Aix-en-Provence gathered specialists and students and revealed its predominant role in History.

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  • Authors: Debiais, Vincent;

    Session 203: Relics at the Interface between Textuality and Materiality, c. 400-c. 1200, II: Inscribing the Relics; International audience; Concentrating on inscriptions on late antique reliquaries from the eastern Mediterranean and on early medieval reliquaries from Western Europe, this panel explores how epigraphic texts participated in the presentation of the relics in their cult sites and how they contributed to explaining the relics’ or the reliquaries’ significance to the intended audience. The proposed papers approach the relations between textual contents, material characteristics of writing, supports and contexts via questions of visibility, legibility, and function of inscriptions.

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  • Authors: Porter, Yves;

    Abstract The Shahi ʿIdgah at Rapri (Uttar Pradesh), which dates to 1312, was built by Malik Kafur, the general of the Delhi sultan ʿAla⁠ʾuddin Khalji (1296–1316). The village of Rapri was part of Malik Kafur’s fief and an important station for the army, as it commanded a ford on the Yamuna River. ʿĪdgāhs, sometimes translated as “wall-mosques,” are extra-urban, open prayer spaces for accommodating large congregations during the two main religious festivals (ʿīds). The Rapri ʿīdgāh constitutes a major landmark in the architecture of the Delhi Sultanate, mainly because of its exceptional decoration of turquoise-glazed tiles, the oldest example of its kind still in situ. Although often considered a technique that originated in the Iranian domains, the making of glazed tiles was already known in the Kushan period (first to fourth century CE), and some findings have been excavated from Buddhist contexts in the nearby Mathura region. This study shows the link between the tiles of Rapri and later fourteenth century examples, and with glazed pottery.

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