Christoph Klose | Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz (original) (raw)

Papers by Christoph Klose

Thüringer Museumshefte, 2022

http://museumsverband-thueringen.de/wp-content/uploads/2023/01/Thueringer\_Museumshefte\_02-2022.pdf

Studies in Digital Heritage, 2022

Accompanying excavation activities in the area of the Roman luxury villa of Capo di Sorrento, 3D ... more Accompanying excavation activities in the area of the Roman luxury villa of Capo di Sorrento, 3D models of the landscape and relevant features have been created using mostly Structure-from-Motion (SfM) since 2015. With this method, it was possible to create a digital surface model of the excavation site combining terrestrial, aerial, and underwater photography. From this 3D model and other, more detailed sub-models of specific objects or areas, various new data were created that greatly enhance excavation documentation and the assessment of features. While some of these data, such as orthophotos generated from SfM models, are now standard practice on excavations, other products require more effort. The research project on the villa of Capo di Sorrento went beyond the results that were obtained from 3D models, and are usually presented as 2D pictures, to expand on the 3D data collected in the field in later work. In particular, the reconstruction of a grotto triclinium based on SfM m...

A. Coralini (ed.), Extra moenia. Abitare il territorio della regione vesuviana, Vesuviana 1 (Roma 2021), 2021

This paper discusses the results of the ongoing interdisciplinary research of the Humboldt-Univer... more This paper discusses the results of the ongoing interdisciplinary research of the Humboldt-Universität zu Berlin of the villa maritima at Capo di Sorrento (Naples) during the years 2014 to 2018. The aim of the re-investigation of this well-known site is to contribute new archaeological and geo-archaeological data of the pars maritima with its harbor system and the buildings on the slopes above. For this it is important to consider the geological characteristics of the calcareous promontory, on which the villa is built. With the aid of geo-electrical prospecting we are digitally recreating a 3D model of the promontory’s original shape before it was altered by the huge Roman terraces that still dominate the appearance of the Cape of Sorrento today. A new plan has been created in order to correct and complement the original by Mingazzini/Pfister from 1946 and it is developing continuously with every new excavation campaign. New results concerning the villa’s water supply system are presented as well as new indications regarding the architectural and decorative design of the villa. Furthermore, first systematic underwater surveys have shed light on the lavish harbour of the villa, traces of which have been found in several spots along the shore. The preliminary results also permit a safer chronology of the villa based on the discovery of a second or early first century BC previous period to the final destruction of the late first century BC / early first century AD pars maritima and its harbour following the eruption of Mount Vesuvius.

Arne Reinhardt (Ed.), Strictly Economic? Ancient Serial Production and its Premises, Panel 3.18, Archaeology and Economy in the Ancient World 20 (Heidelberg 2021) 31–43, 2021

Due to their crafting technique, coins constitute a well-suited material group for studies of ser... more Due to their crafting technique, coins constitute a well-suited material group for studies of serial image production. Coinage‘s innate double nature consisting of types and die-identical series results in a two-fold form of serial image production – both forms are pivotal for discussing serial production of images in antiquity: on the one hand mass production by use of the same dies; on the other hand re-production of the same images by use of different individually cut dies. While the former marks a simple procedure of mass duplication of identical images by means of the same prototype, the latter is an example for antiquity’s manifold phenomena of prototype copy and transfer to new objects/media. Thus, questions of re-production, seriality and copying can be broken down to the die engravers (signatores, scalptores). Conclusions about the operational process of copying can be gained by close comparison of coins struck from different dies but showing the same image with minor variations.
The ‚restored coins‘ of the Roman Empire compose an esp. appropriate group for studying modes of image seriality. In these series that copied obverse and reverse images of prior issues (up to 300 years old in the time of Trajan) similarities and variations can be detected not only within the issue but also in comparison between prototype and later re-production and sometimes even in comparison to variations of different prototypes. They thus open up a new level of insight into ancient image seriality.

Journal of Roman Archaeology, 2017

This contribution examines the construction history of one of the largest Doric peripteroi. Follo... more This contribution examines the construction history of one of the largest Doric peripteroi. Following a critical review of the building phases proposed for the Temple of Zeus at Cyrene, the study concentrates on the monument’s condition as a result of its destruction during the Jewish Revolt (AD 115 – 117) and its subsequent restoration, completed in the Antonine period. It turns out that the structure was an enormous double anta temple surrounded by the debris of the collapsed colonnade. The fact that the peristasis was not re-erected has thus far been supposed to be the consequence of insufficiencies in technology or the economy – which, however, is not convincing in view of the effort evidently expended on reconstruction work elsewhere. Comparison with other monuments destroyed during the same uprising at Cyrene provides serious evidence for a different explanation of the partly ruined state of the Temple of Zeus: the demonstrative display of the architectural members of the demolished colonnade suggests a semanticization of the ruined building material, which is perhaps to be understood as a form of commemorating the danger posed and ultimately averted.

Fresh Perspectives on Graeco-Roman Visual Culture. Proceedings of an International Conference at the Humboldt-Universität, Berlin, 2nd–3rd September 2013, 2015

Proceedings of an International Conference at the Humboldt-Universität, Berlin, 2nd–3rd September... more Proceedings of an International Conference at the Humboldt-Universität, Berlin, 2nd–3rd September 2013 --- >>> online: http://nbn-resolving.de/urn:nbn:de:kobv:11-100229177 <<<----

Christoph Klose et al. (ed.), Fresh Perspectives on Graeco-Roman Visual Culture, 2015

This contribution is focussed on Roman Imperial coins of the High Roman Empire bearing the motif ... more This contribution is focussed on Roman Imperial coins of the High Roman Empire bearing the motif of Imperial adventus. Looking at both the use of an allegedly stereotyped numismatic design and the combination of various motifs labelled adventus by inscription, special emphasis is put on the following questions: which categorisations of these scenes have been developed, which methodological approaches have therefore been followed up in modern research, and to what extent can these be regarded as appropriate means of interpreting the representations on the coins – in particular if one considers these numismatic depictions as elementary for the understanding of Roman state art (especially Roman historical reliefs)? Various issues that might possibly be obstructing a general understanding of the so called adventus-scenes are addressed to stimulate reflection on a detail of great influence in Roman state art.

Jahrbuch Des Deutschen Archaologischen Instituts, 2012

Journal of Roman Archaeology

A traveler passing by ship in front of the peninsula during the 1st c. A.D. would have marveled a... more A traveler passing by ship in front of the peninsula during the 1st c. A.D. would have marveled at a continuous chain of private villas lining the coast (figs. 1-2). Although evidence of these villas survives to the present day, our knowledge is mostly fragmentary due to the fact that many are buried beneath modern estates or have been swallowed by the sea. Between the village of Aequa (near Vico Equense) and the far side of the Sorrentine peninsula with its adjoining islets a total of 24 ruins have been identified as structures related to villae maritimae, commonly dated on the basis of their building techniques to between the Late Republican period and the start of the 2nd c. A.D. Key architectural features of these villas include different porticoes, panoramic exedras, artificial and natural grottos, galleries, nymphaea and piscinae. What all these elements have in common is that they are situated at the very point of contact with the sea and use the bedrock as the ground for con...

Due to their crafting technique, coins constitute a well-suited material group for studies of ser... more Due to their crafting technique, coins constitute a well-suited material group for studies of serial image production. Coinage‘s innate double nature consisting of types and die-identical series results in a two-fold form of serial image production – both forms are pivotal for discussing serial production of images in antiquity: on the one hand mass production by use of the same dies; on the other hand re-production of the same images by use of different individually cut dies. While the former marks a simple procedure of mass duplication of identical images by means of the same prototype, the latter is an example for antiquity’s manifold phenomena of prototype copy and transfer to new objects/media. Thus, questions of re-production, seriality and copying can be broken down to the die engravers (signatores, scalptores). Conclusions about the operational process of copying can be gained by close comparison of coins struck from different dies but showing the same image with minor variations. The ‚restored coins‘ of the Roman Empire compose an esp. appropriate group for studying modes of image seriality. In these series that copied obverse and reverse images of prior issues (up to 300 years old in the time of Trajan) similarities and variations can be detected not only within the issue but also in comparison between prototype and later re-production and sometimes even in comparison to variations of different prototypes. They thus open up a new level of insight into ancient image seriality.

A. Coralini (ed.), EXTRA MOENIA ABITARE IL TERRITORIO DELLA REGIONE VESUVIANA, 2021

Talks by Christoph Klose

Due to their crafting technique, coins constitute a well-suited material group for studies of ser... more Due to their crafting technique, coins constitute a well-suited material group for studies of serial image production. Coinage‘s innate double nature consisting of types and die-identical series results in a two-fold form of serial image production – both forms are pivotal for discussing serial production of images in antiquity: on the one hand mass production by use of the same dies; on the other hand reproduction of the same images by use of different individually cut dies. While the former marks a simple procedure of mass duplication of identical images by means of the same prototype, the latter is an example for antiquity’s manifold phenomena of prototype copy and transfer to new objects/media. Thus, questions of reproduction, seriality and copying can be broken down to the die engravers (signatores, scalptores). Conclusions about the operational process of copying can be gained by close comparison of coins struck from different dies but showing the same image with minor variations.
The ‚restored coins‘ of the Roman Empire compose an esp. appropriate group for studying modes of image seriality. In these series that copied obverse and reverse images of prior issues (up to 300 years old in the time of Trajan) similarities and variations can be detected not only within the issue but also in comparison between prototype and later reproduction and sometimes even in comparison to variations of different prototypes. They thus open up a new level of insight into image seriality.

Klose’s contribution is focussed on Roman Imperial coins of the High Roman Empire bearing the mot... more Klose’s contribution is focussed on Roman Imperial coins of the High Roman Empire bearing the motif of Imperial adventus.
Looking at both the use of an allegedly stereotyped numismatic design and the combination of various motifs labelled adventus by inscription, special emphasis is put on the following questions: which categorisations of these scenes have been developed, which methodological approaches have therefore been followed up in modern research, and to what extent can these be regarded as appropriate means of interpreting the representations on the coins – in particular if one considers these numismatic depictions as elementary for the understanding of Roman state art (especially Roman historical reliefs)? Various issues that might possibly be obstructing a general understanding of the so called adventus scenes are addressed to stimulate reflection on a detail of great influence in Roman state art.

Die um 630 v. Chr. durch Kolonisten von der Insel Thera gegründete Stadt Kyrene hat ihr typisch g... more Die um 630 v. Chr. durch Kolonisten von der Insel Thera gegründete Stadt Kyrene hat ihr typisch griechisches Gepräge bis in die römische Kaiserzeit hinein beibehalten. In den Jahren 115-117 n. Chr. erlitt die Stadt allerdings einen für Städte der römischen Kaiserzeit ungewöhnlichen Einschnitt. Dem Ausbruch einer heftigen Revolte der jüdischen Bewohner fielen weite Teile der Stadtgebiets zum Opfer. Neben Räumen administrativer Funktion wie der Basilika und der Agora sowie Kristallisationspunkten der griechisch-römischen Kultur wie den Thermen und dem Gymnasium waren hiervon vor allem die urbanen Heiligtümer betroffen. Das umfassende Daniederliegen des urbanen Erscheinungsbildes erforderte eine tiefgreifende städtebauliche Reaktion. Im Mittelpunkt des Vortrages steht daher die Frage, welche Strukturen sich beim auf diese Katastrophe folgenden Wiederaufbau erkennen lassen. Anhand ausgewählter architektonischer und epigraphischer Befunde lässt sich hierfür ein deutlich facettenreicheres als von der Forschung bislang entworfenes Bild skizzieren. Denn neben dem häufig zitierten Bewahren überkommener Strukturen bzw. deren Wiederherstellung (einem Phänomen, das sich im Falle des Kenotaphs des Stadtgründers Battos als besonders ausgeprägt erweist, da sein Grabmal innerhalb der im 2. Jh. angelegten Osthalle der Agora weiterhin sichtbar gewesen sein muss) und der Anlage neuer Viertel stärker römischen Zuschnitts ist auch ein besonderer Umgang mit der historischen Zäsur des Aufstands an sich nachweisbar. So wurden die Zerstörungen an den beiden wichtigsten städtischen Heiligtümern, dem Tempel des Apollon und dem großen Zeustempel – in unterschiedlicher Stärke und Kontrastierung zum erneuerten Baubestand – in Erinnerung gehalten. Insgesamt erweist sich der Wiederaufbau Kyrenes nach dem jüdischen Aufstand als von drei Konzepten geleitet, die das identifikatorische Fundament einer infolge der historischen Ereignisse neu zusammengesetzten Bevölkerung bildeten: Transformation im Sinne einer Anpassung an gewandelte urbanistische Bedürfnisse, Rückbezug auf Tradition und alte Größe sowie Zurschaustellung von Zerstörungen des trajanischen Gewaltakts.

Thüringer Museumshefte, 2022

http://museumsverband-thueringen.de/wp-content/uploads/2023/01/Thueringer\_Museumshefte\_02-2022.pdf

Studies in Digital Heritage, 2022

A. Coralini (ed.), Extra moenia. Abitare il territorio della regione vesuviana, Vesuviana 1 (Roma 2021), 2021

Arne Reinhardt (Ed.), Strictly Economic? Ancient Serial Production and its Premises, Panel 3.18, Archaeology and Economy in the Ancient World 20 (Heidelberg 2021) 31–43, 2021

Journal of Roman Archaeology, 2017

Fresh Perspectives on Graeco-Roman Visual Culture. Proceedings of an International Conference at the Humboldt-Universität, Berlin, 2nd–3rd September 2013, 2015

Christoph Klose et al. (ed.), Fresh Perspectives on Graeco-Roman Visual Culture, 2015

Jahrbuch Des Deutschen Archaologischen Instituts, 2012

Journal of Roman Archaeology

Due to their crafting technique, coins constitute a well-suited material group for studies of ser... more Due to their crafting technique, coins constitute a well-suited material group for studies of serial image production. Coinage‘s innate double nature consisting of types and die-identical series results in a two-fold form of serial image production – both forms are pivotal for discussing serial production of images in antiquity: on the one hand mass production by use of the same dies; on the other hand re-production of the same images by use of different individually cut dies. While the former marks a simple procedure of mass duplication of identical images by means of the same prototype, the latter is an example for antiquity’s manifold phenomena of prototype copy and transfer to new objects/media. Thus, questions of re-production, seriality and copying can be broken down to the die engravers (signatores, scalptores). Conclusions about the operational process of copying can be gained by close comparison of coins struck from different dies but showing the same image with minor variations. The ‚restored coins‘ of the Roman Empire compose an esp. appropriate group for studying modes of image seriality. In these series that copied obverse and reverse images of prior issues (up to 300 years old in the time of Trajan) similarities and variations can be detected not only within the issue but also in comparison between prototype and later re-production and sometimes even in comparison to variations of different prototypes. They thus open up a new level of insight into ancient image seriality.

A. Coralini (ed.), EXTRA MOENIA ABITARE IL TERRITORIO DELLA REGIONE VESUVIANA, 2021

Due to their crafting technique, coins constitute a well-suited material group for studies of ser... more Due to their crafting technique, coins constitute a well-suited material group for studies of serial image production. Coinage‘s innate double nature consisting of types and die-identical series results in a two-fold form of serial image production – both forms are pivotal for discussing serial production of images in antiquity: on the one hand mass production by use of the same dies; on the other hand reproduction of the same images by use of different individually cut dies. While the former marks a simple procedure of mass duplication of identical images by means of the same prototype, the latter is an example for antiquity’s manifold phenomena of prototype copy and transfer to new objects/media. Thus, questions of reproduction, seriality and copying can be broken down to the die engravers (signatores, scalptores). Conclusions about the operational process of copying can be gained by close comparison of coins struck from different dies but showing the same image with minor variations.
The ‚restored coins‘ of the Roman Empire compose an esp. appropriate group for studying modes of image seriality. In these series that copied obverse and reverse images of prior issues (up to 300 years old in the time of Trajan) similarities and variations can be detected not only within the issue but also in comparison between prototype and later reproduction and sometimes even in comparison to variations of different prototypes. They thus open up a new level of insight into image seriality.

15. Tag der Antiken Numismatik Münster (6.11.2021)

Mit der Abdankung der kleinstaatlichen Fürstenhäuser auf dem Gebiet des 1920 neugegründeten Freis... more Mit der Abdankung der kleinstaatlichen Fürstenhäuser auf dem Gebiet des 1920 neugegründeten Freistaats Thüringen gingen auch die fürstlichen wissenschaftlichen Einrichtungen, darunter Bibliotheken, Museen und Sammlungen mit teils beträchtlichen Münzbeständen, in Landeseigentum über. In den frühen 1920er Jahren wurde auf Anregung des Bildungsministeriums ein Plan zum Ausbau der Thüringer Münzsammlungen auf Grundlage eines wissenschaftlichen Gutachtens des Numismatikers Behrendt Pick erstellt. Im Kurzbeitrag sollen die Eckpunkte des Plans, der u.a. eine Vereinigung antiker Münzen im Akademischen Münzkabinett der Universität Jena vorsah, skizziert und mit den tatsächlichen Entwicklungen des Folgejahrzehnts verglichen werden. Das Ergebnis zeigt eine gefährliche Instrumentalisierung der numismatischen Sammlungen in den Restitutionsforderungen der ehemaligen Fürstenhäuser, insbesondere des ehemaligen Großherzogtums Sachsen-Weimar-Eisenach. Befeuert durch politische Verwerfungen führte dies zur Rückgabe von Sammlungen, deren Rechtsgrundlage heute zumindest zweifelhaft anmutet. Viele Sammlungen gelten seither als verschollen. Insgesamt verdeutlichen die Vorgänge, neben der grundsätzlichen Abhängigkeit kultureller Einrichtungen von der politischen Willensbildung, exemplarisch die große Gefährdung öffentlicher Sammlungen ohne fachwissenschaftliche Leitung, zu denen Münzsammlungen damals wie heute häufig zählen.

Panel 3.18 XIX. International Congress of Classical Archaeology „Archaeology and Economy in the ... more Panel 3.18
XIX. International Congress of Classical Archaeology „Archaeology and Economy in the Ancient World“ in Köln und Bonn

May 24, 2018