_CIPA 2005 XX International Symposium, 26 September — 01 October, 2005, Torino, Italy
1091
the Franzoni Villa or the San Giorgio Palace in Genoa, the
Cravetta Palace in Savigliano etc., in which architecture
and figure painting is destined to animate and totally
characterize building walls otherwise bare of any relief
ornamentation. Yet, the problem - also at the lexical level
- is evidently still not clearly defined, if the terms of
painted architecture, perspective illusionism, scenery,
“quadraturismo”, aerial perspective, trompe l’oeil and so
on are used in an ambiguous manner for the same wall
painting.
The problem becomes even more complex if thought is
extended to Islamic decorations and architectures. From the
considerations that initially spring forth, a first subdivision of
decorative architecture can perhaps be confirmed:
“structural”, intrinsic to the building material, aimed at
enhancing and emphasizing the connotative values,
“surface”, aimed at camouflaging the material’s
visual aspects, to overlay them with characteristics and
meanings referring to other constituent processes of the
architecture.
Reflections and considerations like those described above
stimulated me to start some research - in a forthcoming
publication - aimed at correlating a possible time-typology
classification of decorations to historical-cultural roots,
following persistency, permanency and/or transformations over
time. As regards the tradition of the cultural institutions where
my training matured, the historical-geographic environment
favoured when getting research under way was that of Greco-
Roman classicism, compared with the areas of diffusion and
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permeation of decorative models. The structure of the research
plans for key features, icons, decorative elements and motifs, to
be accurately listed and subdivided into:
geometric motifs,
architectural elements and motifs (with a section
specifically dedicated to the orders),
naturalistic motifs, and
representative and symbolic aspects.
This is followed by the possible simulation effects (of materials
or naturalistic trompe l’oeil) present and the list of the
historical-artistic-cultural roots of first reference. A significant
part of the report is dedicated to the methods of representation
utilized (two-dimensional and three-dimensional representation,
orthogonal and axonometric projection, perspective, application
of shadow theory and the use of special visual effects) and the
methods of vision.
3. EXAMPLES
The work is correlated to a conventional iconographie repertoire
of the identified decorative types, approximately three hundred
to date. Relative examples (see illustrations) refer to
geometrical decoration (Khatem) used in Islamic culture,
presented by Ms. Piolatto and Ms. Saponaro in a dissertation on
color and decoration in Morocco, which I supervised. The study
provides a peculiar example of formal construction represented
by polygonal braiding, as shown in figs. 30 - 34.
Elementi naturalistici
1 Acanto 2 Aegncanes
1 'Ull IS
3 Amasio
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4 Arabesco 5 Bacello
maxi od . lx .
7 Bucramo 8 Cabochon
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10 Conchiglia 11 Corona
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13 Cuiris 14 Curare
6 B. ndsrupia
9 Candelabro
12 Crochet
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15 Colpo 4' tossa
16 Diamante : 17 Drappeggio
19 Festone 20 Fiamma
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18 Encaroo
2.1 Fior <K Iota
22 Fiore cruciforme 23 Fiorone
24 Foglia d acanto
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25 .Foglia demea 26 Foglia ksfca
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27 Fronda
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28 Fune 29 Gattona
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30 Gemma
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31 Ghirlanda 32 Girale
33 GutU'-chc
34 Laccio <5i «armali ! 35 Ltmibrec chino
36 Lemnisco
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37 Linguetta 3S Nastro
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39 Onda
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40 Palmella 41 Panneggio
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42 Papiro egiziano
43 Feria 44 Pigna
45 Pomo
46 Rac-csc 4" tacente
48 Ramo
49 Recatile 50 Rosa
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51 Rosetta
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52 Resone 53 Scaglia
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55 Squama 56 Stalattite
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54 Serto floreale
57 Stiloforo
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69
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