Accueil > Documentations scientifiques > Revues archivées > Omaly sy Anio > Archives > Omaly sy Anio (Hier et Aujourd’hui) : revue d’études historiques, volume 1-2, (...) > Un Exemple de syncrétisme esthétique au XIXè siècle : le Rova de Tananarive (...)

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  Un Exemple de syncrétisme esthétique au XIXè siècle : le Rova de Tananarive d’Andrianjaka à Radama 1er
  Omaly sy Anio (Hier et Aujourd’hui) : revue d’études historiques, volume 1-2, janvier - décembre 1975, pp. 173-207

  Auteur : Belrose Huyghues V.

  Mots clés : MERINA/MONARCHIE/ROIS ET SOUVERAINS/ROVA/AMENAGEMENT/PALAIS/ CONCEPTION ET CONSTRUCTION/ARCHITECTURE/ANTHROPOLOGIE HISTORIQUE/HISTOIRE/17e-19e SIECLE/MADAGASCAR/ANTANANARIVO/ANALAMANGA/ANTANANARIVO RENIVOHITRA/ANATIROVA
  
  

  [ MLA ] Raha vao naorina ny Rovan’Antananarivo tamin’ny taon-jato faha-17 dia toa nisy sahady fitsipika sasantsasany narahina teo amin’ny fitodihan’ny trano ao anatin’ny rova sy teo amin’ny fandaminana azy ireo. Fitsipika entitra manaraka ny fanandroana sy ny finoana ary mifono hevitra lalina, fitsipika notanterahina hatrany am-boalohany ary niha-navesa-danja foana no hita misongadina raha atao ny fampitahana amin’ny endrika samihafa mifandimby noraisan’ny Rovan’Antananarivo sy ny Rovan’Ambohimanga. Ireo soridàlana tena malagasy ireo no mifehy izay fiovana niseho teo amin’ny lafiny ara-teknika.
  Tsapa àry – ary eto isika dia manohitra ny hevitra fahita mazana amin’ny tantaran’ny fananjanahan-tany – fa tsy ny zava-baovao ara-teknika naiditry ny Tandrefana no miteraka fivoarana, tsy ny « Sivilizasiona » no mitarika fiovana, fa kosa ny rivo-piainana malagasy, indrindra fa merina. Nanomboka tamin’ny taon-jato faha-17 dia nitombo an’isa ny Merina, nitatra ny fanjakany sy ny fahefany, koa dia nokendreny lalandava ny hampirindra amin’izay zava-baovao mitranga ny fomba anambarany izay tiany aseho sy ny fombany. Raha dinihina eo amin’ny lafin’ny maha-andriana, dia voatery noraisina ary nampiasaina ireo marika vaovaon’ny fiandrianana nindramina avy any ivelany. Tamin’ny andron-dRadama ny mariky ny fahefan’ny Mpanjaka dia nalaina tahaka amin’ny izay hita ao amin’ireo tany « Tandrefana amin’ny faritra mafana » (Occident tropicalisé) dia ny nosy zanatany eo amin’ny Océan Indien. Ny tianay hotsapan’ny mpamaky ity lahatsoratra ity dia ny maha-zava-dehibe ho an’ny mpitondra ny fisehoany ety ivelany, fisehoana izay kendrena hanaporofoana ny fahefan’ny Mpanjaka ary natao mba haneken’ny vahiny sy ny vahoakany azy ; noho izany dia atao izay hahazoan’izy ireo izany. Teto Imerina dia ny « style » ihany no miova fa tsy ny tiany hambara na koa ny fandaminana ao amin’ny Rova.

  [ EN ] In Tananarive, from its origin in the XVIIth. century, the Rova or Royal enclosure seems to be conform to a certain number of rules concerning the orientation and organization of its different elements. The comparison with the successive shapes of the Rova of Tananarive and the other Rova of Ambohimanga shows the permanence and even the reinforcement of a few symbolic, astrological and religious claims. These malagasy requirements mould the evolution of building techniques and shape. Opposite to the usual arguments of the traditional colonial history, one realizes that the dynamic element is not the European contribution to the technique, that “Civilisation” is not the mover, but the malagasy society and more precisely the merina society. This latter in demographic, territorial and political expansion still fits its way of expression and its culture to the present new realities. Particularly the royal symbolic is compelled to always assimilate and use new symbols of power which it borrows from the foreigners. Under the reign of King Radama, the symbols of royal power are borrowed from the “exotic Occident” of the colonial islands in the Indian Ocean.
  The article tends to demonstrate the importance of the show for a political power which must prove the magnificence of the King and, in the same time, assure him not only before the foreigners but mainly too before his own people by which he must be necessarily understood. In Imerina, change in style regards the elements but never the meaning nor the construction of the whole.

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