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Costruzione Di Un Museo: L'archeologico Di Istanbul

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Costruzione Di Un Museo: L'archeologico Di Istanbul Costruzione di un Museo: l’Archeologico di Istanbul Indice תקציר – I. Abstract הקדמה – II. Introduzione III. Premessa. La nascita del museo in Europa 1. Prima fase (1846-1874) 1.1 Fethi Pascià e la collezione di Sant’Irene 1.2 Il Catalogo di Albert Dumont 1.3 La direzione di Edward Goold e redazione di un nuovo Catalogo 1.4 La direzione di Philip Anton Déthier e la legge sulle antichità del 1874 2. Seconda fase (1875-1881) 2.1 Trasferimento della collezione di Sant’Irene nel Çinili Köşk 3. Terza fase (1881-1910) 3.1 La direzione di Osman Hamdi bey e le leggi sulle antichità del 1884 e 1906 3.2 Il Catalogo di Salomon Reinach sulle opere esposte nel Çinili Köşk 3.3 I Cataloghi redatti da André Joubin a. Catalogo sommario delle sculture greche, romane, bizantine e franche b. Catalogo sommario delle antichità imiarite e palmirene c. Catalogo sommario dei monumenti funerari collocati nella nuova sede museale 3.4 Gustave Mendel al Museo Imperiale 3.5 Redazione del Catalogo delle figurine greche di terracotta (1908) 4. Quarta fase (1910-1922) 4.1 Il Catalogo delle sculture greche, romane e bizantine al tempo della direzione di Halil Ethem bey 5. Analisi storico-linguistica di artefatti provenienti da: a. Palestina b. Palmira 6. Epilogo IV. Bibliografia 1 I. Abstract תקציר עבודתי מתייחסת לשלבים ולשינויים השונים שעבר המוזיאון האימפריאלי של איסתנבול. הוא החל כאוסף של חפצים נדירים שנמצאו בכנסייה הביזנטית סנט אירנה ובמשך הזמן הפך למבנה אורגאני ומסודר לפי הקאנון של הארכיאולוגיה המודרנית. היוזם של הפרוייקט הראשון היה פטהי פשה בשנות החמישים של המאה התשע עשרה ואחר כך על ידי אוסמן המדי באי, מנהל כשרוני אשר רכש את השכלתו על פי המסורת התרבותית הצרפתית. במחקרי אני בחנתי את תוכנם של מספר קטלוגים שנערכו על ידי אנשים שונים והעשרת המוזיאון. באוספים מתחומים שונים שבמשך הזמן הפכו את המוזיאון לאחד מהחשובים לפי הקריטריונים המערביים. התםקדתי במספר חפצים נדירים שהתגלו בפלמירה הכתובים בארמית, ואחרים שהתגאלו בפלסטינה עם תכנים קצרים אפיגרפיים הכתובים בעברית. כל החפצים הללו הובאו למוזיון על בסיס החוק העותומני משנת 1874, 1884 המתייחס לחפצים עתיקים. 2 II. Introduzione Nel corso di alcune lezioni di Filologia Semitica tenute dalla professoressa Cussini e incentrate sulle caratteristiche dell’ebraico e dell’aramaico epigrafici, così come sono documentate da reperti conservati al Museo Archeologico di Istanbul, mi è sorto il desiderio di acquisire la conoscenza diretta degli artefatti che ne sono portatori, quali per esempio il Calendario di Gezer, l’iscrizione di Siloe e i testi di alcuni ostraca di Samaria. Poiché infatti le informazioni tratte da letture specifiche non mi consentivano di avere una nozione soddisfacente né delle peculiarità linguistiche delle iscrizioni dei suddetti artefatti né dell’aspetto esteriore di essi e neppure delle strutture architettoniche degli spazi ospitanti, ho deciso per una visita personale al Museo, risultata purtroppo parziale, essendo un’ala dell’edificio in restauro. Comunque sia, di fronte a tante opere di pregevole fattura, collocate all’interno di precise collezioni coincidenti con il loro luogo di provenienza, ho provato un felice stupore, essendo consapevole del fatto che l’Impero Ottomano è sempre stato terra di rapina per gli archeologi europei fin dalla fine del Settecento. Ho allora iniziato a riflettere e a pormi delle domande sulle modalità e sui tempi di costruzione di tale organismo, sulle eventuali relazioni con le analoghe istituzioni europee, sui personaggi che con competenza ne hanno determinato il successo internazionale. Ebbene, ricercate e raccolte più pubblicazioni possibili ritenute idonee a fornire risposte esaustive e convincenti alle mie domande, ho inteso procedere in questa operazione di ricostruzione storico-culturale senza trascurare gli eventuali risvolti politici che sono stati di stimolo alla concezione del progetto e alla sua realizzazione. הקדמה במספר קורסים שהשתתפתי בהם, בנושא פילולוגיה שמית על ידי הפרופסורית כוסיני אשר התמקדו במאפיינים של האפיגרפיה בעברית ובארמית, שמופיעים על גבי שרידים השמורים במוזיאון הארכיאולוגי באיסטנבול, התעוררה בי הסקרנות להתעמק בנושא ולערוך מחקר מספר שרידים: האחד לוח גזר והשני הכתובת של .שילוח וכן מספר אוסטראכה מהשומרון מכיוון שהאינפורמציה הכתובה על שרידים אלו, הן מבחינת ייחודם הלשוני, מראם ומיקומם במבנה הארכיטקטוני, לא סיפקו אותי ולכן החלטתי לבקר באופן אישי במוזיאון. לצערי, אגף אחד שבו שכנו מספר שרידים היה בשיפוץ. ראיתי שם הרבה שרידים מאיכות גבוהה, אבל עם כיתוב ותואר מפורט של מקום הימצאם, הרגשתי שמחה והתפעלות כאחד, מכיון שהאימפריה העותומנית היתה תמיד מקום .שהארכאולוגים האירופאיים בזזו ממנה אוצרות מאז המאה השמונה עשרה התחלתי להרהר בנושא והחלטתי לבחון את הדרך שבו המוסד הזה הורכב, הקשר שלו עם מוסדות אירופאים מקבילים והאנשים שעסקו בנושא בדרך כל כך מקצועית .והפכו את המקום להצלחה בינלאומית אספתי חומר ופירסומים בנושא, שיכלו לספק לי תשובות משביעות רצון לשאלותי. החלטתי להמשיך את מחקרי בתחום ההיסטורי-תרבותי, בלי לקפח, כמובן, את האספקט הפוליטי אשר העשיר את הידע שלי ואיפשר לי ראיה כללית ומקיפה .בנושא 3 III. Premessa. La nascita del museo in Europa Lunga ma graduale è stata la formazione di questo spazio culturali che affonda le sue radici nell’antichità, ossia nello studio o studiolo che, nel volgere di alcuni secoli, si è trasformato da luogo strettamente privato di meditazione e di studio a posto di collezione di oggetti raffinati e di particolare interesse storico-artistico accessibile a visitatori selezionati, e quindi a museo pubblico. All’inizio, dunque, ci fu una stanza, un piccolo locale destinato agli studi, collocato nelle ville fuori città per favorire l’isolamento e il contatto con la natura. Cicerone (M. Tullius Cicero, 106-43 a.C.), Plinio il Vecchio (C. Plinius Secundus Maior, 23-79 d.C.), Augusto (C. Iulius Caesar Octavianus Augustus, 63 a.C.-14 d.C.), Quintiliano (M. Fabius Quintilianus, dal 35 al 40-96 d.C.), Plinio il Giovane (C. Plinius Caecilius Secundus Iunior, 61 o 62-113 o 114 d.C.) disponevano di un posto in cui dedicarsi all’otium o di giorno, a contatto con la natura, o di notte, al lume di una lucerna, sempre però in un ambiente isolato dal mondo esterno, indicato per esempio da Cicerone con palaestra, gymnasium, xystus, bibliotheca e lyceum1 o, da Plinio il Giovane, diaeta2. Mai studium, essendo questo un vocabolo estraneo alla classicità nel significato di luogo, gabinetto di studio3. I termini studium e studiolum, riferiti ad ambienti autonomi di studio, non compaiono prima del Quattordicesimo secolo (Liebenwein 2005, p. 39). Il suddetto autore rende noto che Giovanni XXII (r. 1316-1334), primo pontefice avignonese, dimorante nel vecchio edificio episcopale, disponeva di uno studio collegato alla biblioteca da lui fondata. Lo stesso fece il suo successore Benedetto XII (r. 1334- 1342) che, presa la decisione di rimanere definitivamente ad Avignone, sostituì il vecchio palazzo episcopale con una nuova costruzione nella quale fece allestire uno studio4 nell’appartamento pontificio, che fu utilizzato dai tre successivi pontefici: Clemente VI (r. 1342-1352), Innocenzo VI (r. 1352-1362) e Urbano V (r. 1362-1370). Lo studium come ambiente autonomo rimase inizialmente circoscritto alla cerchia curiale. Infatti, quando nel 1367 Urbano V ritornò per qualche tempo a Roma, fece ristrutturare il palazzo vaticano collocandovi uno studio simile a quello avignonese, raggiungibile dall’attigua camera da letto e fornito di armadio e tavolo, mobili indicati con il termine collettivo scriptorium. Contemporaneamente anche il re di Francia, Carlo V (r. 1364-1380), in tutti i suoi castelli possedeva una stanza di questo tipo, destinata allo studio e alla raccolta di oggetti chiamata estude. Questo ambiente era 1 Cicero, de div., 1, 8: Quibus de rebus et alias saepe et paulo accuratius nuper, cum essem cum Q. fratre in Tusculano, disputatum est. Nam cum ambulandi causa in Lyceum venissemus (id enim superiori gymnasio nomen est)… 2 Singola stanza, con o senza altre camere secondarie, da lui molto amata, tanto da definirla amores mei, re vera, amores (Plin., Ep. 2, 17-24). Qui, isolato, in occasione dei Saturnali non disturbava il divertimento degli schiavi che, con i loro clamori, non lo distoglievano a loro volta dagli studi. 3 Nel Forcellini (Lexicon Totius Latinitatis, Patavii, Typis Seminarii, 1940) studium nel senso concreto viene chiosato come “est etiam locus ubi studiis datur opera, scuola, μουσεῖον. In questo senso compare per la prima volta nel Cod. Theod. (14, 9, 3, Hi [magistri publici] omnibus modis privatarum aedium studia sibi interdicta esse cognoscant). 4 Indicato proprio col termine studium, come appare nella registrazione dei pagamenti effettuati nel 1339 per i lavori di dipintura di esso: “pro quibusdam coloribus ad depingendum studium pape…” (Liebenwein 2005, p. 42). 4 diventato una componente fondamentale dell’appartamento privato del sovrano assieme all’oratorio e alla cappella, situati verso il bosco, così che allo studio e alla preghiera veniva riservato lo spazio più tranquillo. Se adesso lo studium compare in collegamento con un’autorità temporale non deve suscitare stupore, in quanto tra i laici il re di Francia era considerato Rex Christianissimus e difensore della Chiesa. Inoltre, al partire dal Tredicesimo secolo la Francia aveva assunto il ruolo di guida intellettuale d’Europa, e Carlo V ne era un degno rappresentante, tanto che la sua biografa, Christine de Pisan5 (1365-1430 ca.), ne loda l’amore per i libri e ne conferma il grande interesse per lo studio e per la scienza. A tali discipline egli si dedicava con impegno leggendo testi sacri nonché opere di astrologia, medicina e chiromanzia. Nello studio, poi, conservava oggetti di valore sia d’arte sacra (crocifissi, rosari, reliquiari) che profana (vassoi d’avorio, orologi, specchi, candelieri, cinture ornate di pelle, cammei, contenitori sia in pietre semi- preziose sia decorati con metalli preziosi). In questo contenuto si può già intravvedere l’origine di un collezionismo agli albori, essendo anche presente un pezzo da collezione particolare, cioè un uomo nudo. I pezzi da collezione sono invece presenti ed esposti nello studio del fratello del sovrano, il duca Jean de Berry6 (1340-1416).
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