Szilvia Lakatos | Museum of Fine Arts, Budapest (original) (raw)

Papers by Szilvia Lakatos

Bulletin du Musée Hongrois des Beaux-Arts 125 (2020) 55-85, 2020

Budapest 1939, 32 (cat. no. 24); Liptay in István Bárkányi ed., A fáraók Egyiptoma. A Móra Ferenc... more Budapest 1939, 32 (cat. no. 24); Liptay in István Bárkányi ed., A fáraók Egyiptoma. A Móra Ferenc Múzeum kiállításának vezetője [Egypt of the Pharaohs. Guide to the exhibition of the Móra Ferenc Museum], Szeged 2014 (cat. no. 12). 32 Petrik in Kóthay and Liptay 2012 (n. 22), cat. nos. 77b and 77c; Petrik in Kóthay and Liptay 2013 (n.22), cat. nos. 79b and 79c. 33 Ross I. Thomas, "Terracotta and stone figurines from Naukratis", British Museum Studies in Ancient Egypt and Sudan 24 (2019), 192-194. See also an online catalogue of the British Museum (Naukratis: Greeks in Egypt): https://webarchive.nationalarchives.gov.uk/ ukgwa/20190801105436/https://www.britishmuseum.org/research/online_research_catalogues/ng/ naukratis_greeks_in_egypt.aspx. 34 The symbolic function of this object group is difficult to exactly define, but seems strongly linked to the goddess Hathor: Elizabeth A. Waraksa, "Female Figurines (Pharaonic Period)", in Willeke Wendrich ed., UCLA Encyclopedia of Egyptology, Los Angeles 2008 (http:// digital2.library.ucla.edu/viewItem.do?ark=21198/ zz000s3mm6). Still in the same year, in 1960, from a private collection the museum managed to acquire a contemporaneous example of another subtype of the same object group representing a nude female figure standing in a shrine (inv. no. 60.33-E). 35 London, The British Museum, inv. no. EA 9524 (James Henry Breasted Jr., Egyptian Servant Statues (Bollingen Series 13), New York 1948, pl. 65a; Angela Mary Johanne Tooley, "Middle Kingdom Burial Customs. A Study of Wooden Models and Related Material", PhD diss., University of Liverpool 1989, 137-38; London, UCL Culture, Petrie Museum of Egyptian Archaeology, inv. no. UC75621. Gerard P. F. Broekman, "Falcon-headed Coffins and Cartonnages",

Vesuviana. An international journal of archaeological and historical studies on Pompeii and Herculaneum 14 (2022) 97-128., 2022

Ancient Greece and Italy : at the Crossroads between the Civic and the Wild, Eds. P. Johnston et al. (Cambridge: Cambridge Scholars), 141-160., 2021

Despite the fact that Livy and Cicero referred to the Etruscans as the most religious people, 1 u... more Despite the fact that Livy and Cicero referred to the Etruscans as the most religious people, 1 unfortunately very few written sources on their religious beliefs, not to mention sources written by the Etruscans themselves, remain. The interpretation of phenomena such as the appearance of Greek deities in the Etruscan religion is therefore not supported by contemporary reports. The veneration of certain Greek gods and goddesses is nevertheless one of the most significant and immediately apparent aspects of the Etruscan religion. While in some cases even the names of these Greek deities were adopted, in other cases an existing deity of Etruscan name was in some sort associated with a Greek parallel. 2 This "interpretatio Etrusca," 3 however, can be the source of a number of confusions, since it is not known which of the many pertinent aspects of a deity was chosen to support these associations, and, based on the selected set of attributes, any given god or goddess could be associated with many others at the same time. This phenomenon can be observed with regard to the gold plates of Pyrgi, where parallels are drawn between the Etruscan Uni and the Phoenician Astarte, in spite of the fact that the former is usually considered to be a counterpart of the Greek Hera, while the latter is usually associated with the Greek Aphrodite. 4 1 Livy 5.1.6 and Cic. Div. 1.42.93. 2 Aplu, Artumes/Aritimi and Hercle can be mentioned as deities, whose names derive from Greek denominations such as Apollon, Artemis and Herakles (though the missing n from the name of Aplu leads to the assumption that it appeared via the Latin Apollo in Etruria). The comparative context of Etruscan deities is illustrated, for example, in Simon 2006: 46 and Krauskopf 2013: 528-533. 3 The drawing of inter-cultural parallels was a well-liked technique in Antiquity, the key example being Herodotus in his treatment of Egyptian religion (Hdt. 2.50, discussion of the general principle, and later, 2.143-146). 4 See Aubet 2016 for further references.

Etruscan Studies, Sep 15, 2021

Etrusco-Corinthian pottery is a term used to describe a group of vases which were produced in Etr... more Etrusco-Corinthian pottery is a term used to describe a group of vases which were produced in Etruscan workshops between about 630 and 550 B. C. E. and were mainly inspired by Corinthian vase painting. This paper discusses the stylistic coherence, or indeed diversity of Etrusco-Corinthian ceramics, in order to illustrate connections with the Corinthian models of this production. Because Corinthianizing stylistic features are equally characteristic of other Etruscan productions of the time, the paper considers in what way the Etrusco-Corinthian vases differ from other Etruscan works of art in terms of their adherence to Corinthian models, and for the purposes of this discussion, further illuminates the concept of "Corinthianizing." Furthermore, an analysis is provided of the extent to which Corinthian imports, the starting point of Etrusco-Corinthian ceramics, were present in Etruria in comparison to other Greek ceramic types. Finally, the results of these stylistic analyses are used to consider how the history and development of Etrusco-Corinthian vase painting might have been perceived by its contemporary observers. The paper concludes with a discussion on whether Etrusco-Corinthian pottery and the Demaratus story-two testimonies of completely different kindscan be regarded as providing similar statements about Etruscan culture. 1 The foundations of research on Etrusco-Corinthian pottery were laid down by János György Szilágyi. Szilágyi's work on Etrusco-Corinthian vases spanned several decades of his career: his first paper on the subject, "Italo-Corinthiaca," appeared in 1958, while his complete catalogue of figural objects appeared in two volumes, in 1992 and 1998. 2 Thanks to Szilágyi's seminal publications, almost the

Etruscan and Italic Studies

Der Kernfrage dieser Publikation besteht darin, inwieweit sich die etrusko-korinthische Keramik d... more Der Kernfrage dieser Publikation besteht darin, inwieweit sich die etrusko-korinthische Keramik durch eine gewisse Dualität charakterisieren lässt: Sie existiert zwar als eine eigene etruskische Tradition, die korinthische Keramik wird aber als ihr Ausgangspunkt ebenfalls hoch geschätzt und ein korinthisierendes Erscheinungsbild wurde absichtlich angestrebt. Bei der korinthisierenden Keramik wird also ein solcher Aspekt der etruskischen Kunst deutlich, der die Verbindungen zu den eventuellen griechischen Vorbildern nicht verleugnen, sondern eher betonen will. Szilvia Lakatos Korinthisierende figürliche Keramik aus Etrurien Studia Archaeologica, 252 2021, 600 pp., 214 ill. col. Paperback, 17 x 24 cm ISBN: 9788891323484 ISSN: 0081-6299

efolyoirat.oszk.hu

Az ún.„Enyedi Iuno”, egy ülő nőalakot ábrázoló márványszobor 2008-ban került tartós letétként a S... more Az ún.„Enyedi Iuno”, egy ülő nőalakot ábrázoló márványszobor 2008-ban került tartós letétként a Szépművészeti Múzeum Antik Gyűjteményébe. Ekkor került sor a műtárgy restaurálására és ennek kapcsán anyagvizsgálatok elvégzésére. A testből, valamint több ...

Tetrahedron, 2008

In 1987 Shinbo and co-workers were dynamically coating (3,3′-diphenyl-1,1′-binaphthyl)-20 -crown-... more In 1987 Shinbo and co-workers were dynamically coating (3,3′-diphenyl-1,1′-binaphthyl)-20 -crown-6 ether 6 and 5 years later (6,6′-dioctyl-3,3′-diphenyl-1,1′-binaphthyl)-20-crown-6 ether 7 on octadecylsilica gel. The latter CSPs were successfully applied for the ...

Horváth J. (szerk.): Tengeristennő az Olymposon. Mítoszok szóban és képben, Budapest, 2015

Ókor. Folyóirat az antik kultúrákról. XVIII / 2, 2019

Simon-Székely A. (szerk.): Lélekenciklopédia. A lélek szerepe az emberiség szellemi fejlődésében, Budapest, 2019

efolyoirat.oszk.hu

. At this time, a thorough restoration of the statue was carried out, and thus it became possible... more . At this time, a thorough restoration of the statue was carried out, and thus it became possible to perform archaeometric analyses. Samples were taken from the body, as well as several of its extensions. In order to determine the provenance of the marble, X-ray diffraction and stable isotope analyses were performed. In addition -whenever the sample sizes were large enough -polarizing and cathodoluminescence microscopy analyses on thin sections were carried out. The investigations proved that the "Juno Enyedi" is composed of at least three kinds of marble. In accordance with the research of H. W. Müller in the 1990's, the analysis showed conclusively that the body is composed of dolomitic marble from Thasos. Further, new results indicate that the extensions were made from two types of calcitic marbles. Considering the observations made by H. R. Goette, two distinct phases of restoration can be distinguished in the history of the statue. Kivonat Az ún. "Enyedi Iuno", egy ülő nőalakot ábrázoló márványszobor 2008-ban került tartós letétként a Szépművészeti Múzeum Antik Gyűjteményébe. Ekkor került sor a műtárgy restaurálására és ennek kapcsán anyagvizsgálatok elvégzésére. A testből, valamint több kiegészítésből vettünk mintát. A márványok származási helyének meghatározásához röntgen-pordiffrakciós és stabilizotóp-összetételi vizsgálatot, valamint -ahol ezt a minták mérete lehetővé tette -vékonycsiszolaton polarizációs és katódlumineszcens mikroszkópi vizsgálatot végeztünk. A vizsgálatok alapján bebizonyosodott, hogy az "Enyedi Iuno" legalább háromfajta márványból készült. A test anyaga -az 1990-es években H. W. Müller által végzett vizsgálat eredményével megegyezőenthasosi dolomitmárványnak bizonyult. Új eredmény, hogy a kiegészítések kétféle kalcitmárványból készültek. H. R. Goette megfigyeléseit alapul véve a szobor történetében két restaurálási fázist sikerült elkülöníteni.

Bulletin du Musée Hongrois des Beaux-Arts 125 (2020) 55-85, 2020

Budapest 1939, 32 (cat. no. 24); Liptay in István Bárkányi ed., A fáraók Egyiptoma. A Móra Ferenc... more Budapest 1939, 32 (cat. no. 24); Liptay in István Bárkányi ed., A fáraók Egyiptoma. A Móra Ferenc Múzeum kiállításának vezetője [Egypt of the Pharaohs. Guide to the exhibition of the Móra Ferenc Museum], Szeged 2014 (cat. no. 12). 32 Petrik in Kóthay and Liptay 2012 (n. 22), cat. nos. 77b and 77c; Petrik in Kóthay and Liptay 2013 (n.22), cat. nos. 79b and 79c. 33 Ross I. Thomas, "Terracotta and stone figurines from Naukratis", British Museum Studies in Ancient Egypt and Sudan 24 (2019), 192-194. See also an online catalogue of the British Museum (Naukratis: Greeks in Egypt): https://webarchive.nationalarchives.gov.uk/ ukgwa/20190801105436/https://www.britishmuseum.org/research/online_research_catalogues/ng/ naukratis_greeks_in_egypt.aspx. 34 The symbolic function of this object group is difficult to exactly define, but seems strongly linked to the goddess Hathor: Elizabeth A. Waraksa, "Female Figurines (Pharaonic Period)", in Willeke Wendrich ed., UCLA Encyclopedia of Egyptology, Los Angeles 2008 (http:// digital2.library.ucla.edu/viewItem.do?ark=21198/ zz000s3mm6). Still in the same year, in 1960, from a private collection the museum managed to acquire a contemporaneous example of another subtype of the same object group representing a nude female figure standing in a shrine (inv. no. 60.33-E). 35 London, The British Museum, inv. no. EA 9524 (James Henry Breasted Jr., Egyptian Servant Statues (Bollingen Series 13), New York 1948, pl. 65a; Angela Mary Johanne Tooley, "Middle Kingdom Burial Customs. A Study of Wooden Models and Related Material", PhD diss., University of Liverpool 1989, 137-38; London, UCL Culture, Petrie Museum of Egyptian Archaeology, inv. no. UC75621. Gerard P. F. Broekman, "Falcon-headed Coffins and Cartonnages",

Vesuviana. An international journal of archaeological and historical studies on Pompeii and Herculaneum 14 (2022) 97-128., 2022

Ancient Greece and Italy : at the Crossroads between the Civic and the Wild, Eds. P. Johnston et al. (Cambridge: Cambridge Scholars), 141-160., 2021

Despite the fact that Livy and Cicero referred to the Etruscans as the most religious people, 1 u... more Despite the fact that Livy and Cicero referred to the Etruscans as the most religious people, 1 unfortunately very few written sources on their religious beliefs, not to mention sources written by the Etruscans themselves, remain. The interpretation of phenomena such as the appearance of Greek deities in the Etruscan religion is therefore not supported by contemporary reports. The veneration of certain Greek gods and goddesses is nevertheless one of the most significant and immediately apparent aspects of the Etruscan religion. While in some cases even the names of these Greek deities were adopted, in other cases an existing deity of Etruscan name was in some sort associated with a Greek parallel. 2 This "interpretatio Etrusca," 3 however, can be the source of a number of confusions, since it is not known which of the many pertinent aspects of a deity was chosen to support these associations, and, based on the selected set of attributes, any given god or goddess could be associated with many others at the same time. This phenomenon can be observed with regard to the gold plates of Pyrgi, where parallels are drawn between the Etruscan Uni and the Phoenician Astarte, in spite of the fact that the former is usually considered to be a counterpart of the Greek Hera, while the latter is usually associated with the Greek Aphrodite. 4 1 Livy 5.1.6 and Cic. Div. 1.42.93. 2 Aplu, Artumes/Aritimi and Hercle can be mentioned as deities, whose names derive from Greek denominations such as Apollon, Artemis and Herakles (though the missing n from the name of Aplu leads to the assumption that it appeared via the Latin Apollo in Etruria). The comparative context of Etruscan deities is illustrated, for example, in Simon 2006: 46 and Krauskopf 2013: 528-533. 3 The drawing of inter-cultural parallels was a well-liked technique in Antiquity, the key example being Herodotus in his treatment of Egyptian religion (Hdt. 2.50, discussion of the general principle, and later, 2.143-146). 4 See Aubet 2016 for further references.

Etruscan Studies, Sep 15, 2021

Etrusco-Corinthian pottery is a term used to describe a group of vases which were produced in Etr... more Etrusco-Corinthian pottery is a term used to describe a group of vases which were produced in Etruscan workshops between about 630 and 550 B. C. E. and were mainly inspired by Corinthian vase painting. This paper discusses the stylistic coherence, or indeed diversity of Etrusco-Corinthian ceramics, in order to illustrate connections with the Corinthian models of this production. Because Corinthianizing stylistic features are equally characteristic of other Etruscan productions of the time, the paper considers in what way the Etrusco-Corinthian vases differ from other Etruscan works of art in terms of their adherence to Corinthian models, and for the purposes of this discussion, further illuminates the concept of "Corinthianizing." Furthermore, an analysis is provided of the extent to which Corinthian imports, the starting point of Etrusco-Corinthian ceramics, were present in Etruria in comparison to other Greek ceramic types. Finally, the results of these stylistic analyses are used to consider how the history and development of Etrusco-Corinthian vase painting might have been perceived by its contemporary observers. The paper concludes with a discussion on whether Etrusco-Corinthian pottery and the Demaratus story-two testimonies of completely different kindscan be regarded as providing similar statements about Etruscan culture. 1 The foundations of research on Etrusco-Corinthian pottery were laid down by János György Szilágyi. Szilágyi's work on Etrusco-Corinthian vases spanned several decades of his career: his first paper on the subject, "Italo-Corinthiaca," appeared in 1958, while his complete catalogue of figural objects appeared in two volumes, in 1992 and 1998. 2 Thanks to Szilágyi's seminal publications, almost the

Etruscan and Italic Studies

Der Kernfrage dieser Publikation besteht darin, inwieweit sich die etrusko-korinthische Keramik d... more Der Kernfrage dieser Publikation besteht darin, inwieweit sich die etrusko-korinthische Keramik durch eine gewisse Dualität charakterisieren lässt: Sie existiert zwar als eine eigene etruskische Tradition, die korinthische Keramik wird aber als ihr Ausgangspunkt ebenfalls hoch geschätzt und ein korinthisierendes Erscheinungsbild wurde absichtlich angestrebt. Bei der korinthisierenden Keramik wird also ein solcher Aspekt der etruskischen Kunst deutlich, der die Verbindungen zu den eventuellen griechischen Vorbildern nicht verleugnen, sondern eher betonen will. Szilvia Lakatos Korinthisierende figürliche Keramik aus Etrurien Studia Archaeologica, 252 2021, 600 pp., 214 ill. col. Paperback, 17 x 24 cm ISBN: 9788891323484 ISSN: 0081-6299

efolyoirat.oszk.hu

Az ún.„Enyedi Iuno”, egy ülő nőalakot ábrázoló márványszobor 2008-ban került tartós letétként a S... more Az ún.„Enyedi Iuno”, egy ülő nőalakot ábrázoló márványszobor 2008-ban került tartós letétként a Szépművészeti Múzeum Antik Gyűjteményébe. Ekkor került sor a műtárgy restaurálására és ennek kapcsán anyagvizsgálatok elvégzésére. A testből, valamint több ...

Tetrahedron, 2008

In 1987 Shinbo and co-workers were dynamically coating (3,3′-diphenyl-1,1′-binaphthyl)-20 -crown-... more In 1987 Shinbo and co-workers were dynamically coating (3,3′-diphenyl-1,1′-binaphthyl)-20 -crown-6 ether 6 and 5 years later (6,6′-dioctyl-3,3′-diphenyl-1,1′-binaphthyl)-20-crown-6 ether 7 on octadecylsilica gel. The latter CSPs were successfully applied for the ...

Horváth J. (szerk.): Tengeristennő az Olymposon. Mítoszok szóban és képben, Budapest, 2015

Ókor. Folyóirat az antik kultúrákról. XVIII / 2, 2019

Simon-Székely A. (szerk.): Lélekenciklopédia. A lélek szerepe az emberiség szellemi fejlődésében, Budapest, 2019

efolyoirat.oszk.hu

. At this time, a thorough restoration of the statue was carried out, and thus it became possible... more . At this time, a thorough restoration of the statue was carried out, and thus it became possible to perform archaeometric analyses. Samples were taken from the body, as well as several of its extensions. In order to determine the provenance of the marble, X-ray diffraction and stable isotope analyses were performed. In addition -whenever the sample sizes were large enough -polarizing and cathodoluminescence microscopy analyses on thin sections were carried out. The investigations proved that the "Juno Enyedi" is composed of at least three kinds of marble. In accordance with the research of H. W. Müller in the 1990's, the analysis showed conclusively that the body is composed of dolomitic marble from Thasos. Further, new results indicate that the extensions were made from two types of calcitic marbles. Considering the observations made by H. R. Goette, two distinct phases of restoration can be distinguished in the history of the statue. Kivonat Az ún. "Enyedi Iuno", egy ülő nőalakot ábrázoló márványszobor 2008-ban került tartós letétként a Szépművészeti Múzeum Antik Gyűjteményébe. Ekkor került sor a műtárgy restaurálására és ennek kapcsán anyagvizsgálatok elvégzésére. A testből, valamint több kiegészítésből vettünk mintát. A márványok származási helyének meghatározásához röntgen-pordiffrakciós és stabilizotóp-összetételi vizsgálatot, valamint -ahol ezt a minták mérete lehetővé tette -vékonycsiszolaton polarizációs és katódlumineszcens mikroszkópi vizsgálatot végeztünk. A vizsgálatok alapján bebizonyosodott, hogy az "Enyedi Iuno" legalább háromfajta márványból készült. A test anyaga -az 1990-es években H. W. Müller által végzett vizsgálat eredményével megegyezőenthasosi dolomitmárványnak bizonyult. Új eredmény, hogy a kiegészítések kétféle kalcitmárványból készültek. H. R. Goette megfigyeléseit alapul véve a szobor történetében két restaurálási fázist sikerült elkülöníteni.

Der Kernfrage dieser Publikation besteht darin, inwieweit sich die etrusko-korinthische Keramik d... more Der Kernfrage dieser Publikation besteht darin, inwieweit sich die etrusko-korinthische Keramik durch eine gewisse Dualität charakterisieren lässt: Sie existiert zwar als eine eigene etruskische Tradition, die korinthische Keramik wird aber als ihr Ausgangspunkt ebenfalls hoch geschätzt und ein korinthisierendes Erscheinungsbild wurde absichtlich angestrebt. Bei der korinthisierenden Keramik wird also ein solcher Aspekt der etruskischen Kunst deutlich, der die Verbindungen zu den eventuellen griechischen Vorbildern nicht verleugnen, sondern eher betonen will.

Szilvia Lakatos
Korinthisierende figürliche Keramik aus Etrurien
Studia Archaeologica, 252
2021, 600 pp., 214 ill. col.
Paperback, 17 x 24 cm
ISBN: 9788891323484
ISSN: 0081-6299