used as a natural dye in a very ancient age and at least since the 15th century bC. Since its discovery in a few years, the whole Mediterranean basin will be subdued by the purple-red color of which the Phoenicians certainly possess, as well as the ability to produce its pigment, the possibility of spreading along several commercial routes. Throughout the centuries, from the Oriental empires, to the Hellenistic kingdoms, from imperial Rome to the Christian world, the artefacts dyed with this color became a symbol of luxury and synonymous with power. With the industrial revolution, natural purple was supplanted by synthetic dyes. Starting from the study of the ancient production processes of this color, this study attempts to identify new processing issues which, with their linguistic and identity implications, can make it possible to reconstitute a suitable chain of purple production process. This would also transfer the symbolic dimension that, in comparison with the contemporary language of design and art, would bring in the value of cultural heritage inherent in such a secular production tradition

Teorie e storie "entro i confini del rosso". Alcune considerazioni sulla storia, la diffusione e l'oblio del colore della porpora.

antonio labalestra
2017

Abstract

used as a natural dye in a very ancient age and at least since the 15th century bC. Since its discovery in a few years, the whole Mediterranean basin will be subdued by the purple-red color of which the Phoenicians certainly possess, as well as the ability to produce its pigment, the possibility of spreading along several commercial routes. Throughout the centuries, from the Oriental empires, to the Hellenistic kingdoms, from imperial Rome to the Christian world, the artefacts dyed with this color became a symbol of luxury and synonymous with power. With the industrial revolution, natural purple was supplanted by synthetic dyes. Starting from the study of the ancient production processes of this color, this study attempts to identify new processing issues which, with their linguistic and identity implications, can make it possible to reconstitute a suitable chain of purple production process. This would also transfer the symbolic dimension that, in comparison with the contemporary language of design and art, would bring in the value of cultural heritage inherent in such a secular production tradition
Identity the colors of Project. Convegno internazionale
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11589/238487
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