The Ceremonial Sculptures Of The Roman Gods

The well-known formats of Roman sculpture are the ones best preserved, but inevitably limited to those designed to be permanent and immobile. A significant component of the Roman visual world missing from this record are those images which depict or stand in for the Roman gods during ceremonies. Statuary of this type is in some measure mobile, designed specifically to be carried about in processions, brought out for public viewing at throne ceremonies, or participate in divine banquets. In addition to defining the characteristics of these ceremonial sculptures, this study also addresses their performative qualities: where and how they appeared, who was responsible for handling them, with what conventions of decorum, and with what response from the audience.

This study examines the visual and textual evidence for free-standing images of gods which functioned ceremonially in order to determine the distinct formats, the defining characteristics, and in which ceremony or ceremonies each type functioned.

An international, cross-disciplinary investigation of ancient religious practices and their material remains yields fresh insights and poses new questions

Explores how the senses shaped the way the Romans perceived, understood, and remembered ritual experiences.

The study of Roman sculpture has been an essential part of the disciplines of Art History and Classics since the eighteenth century. Famous works like the Laocoön, the Arch of Titus, and the colossal portrait of Constantine are familiar to millions. Again and again, scholars have returned to sculpture to answer questions about Roman art, society, and history. Indeed, the field of Roman sculptural studies encompasses not only the full chronological range of the Roman world but also its expansive geography, and a variety of artistic media, formats, sizes, and functions. Exciting new theories, methods, and approaches have transformed the specialized literature on the subject in recent decades. Rather than creating another chronological catalogue of representative examples from various periods, genres, and settings, The Oxford Handbook of Roman Sculpture synthesizes current best practices for studying this central medium of Roman art, situating it within the larger fields of Art History, Classical Archaeology, and Roman Studies. This comprehensive volume fills the gap between introductory textbooks and highly focused professional literature. The Oxford Handbook of Roman Sculpture conveniently presents new technical, scientific, literary, and theoretical approaches to the study of Roman sculpture in one reference volume while simultaneously complementing textbooks and other publications that present well-known works in the corpus. The contributors to this volume address metropolitan and provincial material from the early republican period through late antiquity in an engaging and fresh style. Authoritative, innovative, and up-to-date, The Oxford Handbook of Roman Sculpture will remain an invaluable resource for years to come.

A HISTORY OF ROMAN ART The new edition of the leading textbook on Roman art, updated with new images and expanded geographic and cultural scope A History of Roman Art is an expansive survey of the painting, mosaic, sculpture, decorative arts, and architecture of ancient Rome. This acclaimed textbook provides a fully-illustrated narrative history of Roman art that spans a millennium, from the early origins of Rome to the era of Emperor Constantine. Interwoven throughout the text are themes of Rome's cultural inclusiveness and the importance of art in promoting Roman values, helping students understand how diverse cultures contributed to Roman life. Accessible, chronologically-organized chapters provide numerous examples of the arts, their cultural and historical context, descriptions of artistic techniques, and writings by ancient authors—enabling students to develop a rich appreciation of art’s importance in the Roman world. Now in its second edition, this market-leading textbook features thoroughly revised content throughout. Additional images and excerpts from literary sources are complemented by new historical discussions of metalwork, carved gems, glass, and sarcophagi. This edition features more maps and illustrations, in-depth analysis of iconography, greater emphasis on the types of objects used to decorate the lives of ordinary Romans, expanded coverage of freedmen and women as artists, subjects, and patrons, and much more. A number of works that represent popular art have been added. That is, art in the everyday Roman world, rather than just the large scale works of sculpture and architecture of elite patrons. It also reveals patterns of artistic workshops, trade, and social and economic networks. Additionally, this edition takes into account new approaches in scholarship. This comprehensive textbook: Provides a thorough introduction to Roman art history featuring more than 400 high quality images and illustrations Includes a full set of pedagogical tools, such as historical timelines, key term definitions, and updated references and further reading suggestions Offers “Scholarly Perspective,” “A View from the Provinces,” “More on Myth,” and “Art and Literature” textboxes in each chapter Includes a companion website containing PowerPoint slides and additional instructor resources A History of Roman Art, Second Edition is an ideal primary or secondary text for courses on Roman art and archaeology, Roman art and architecture, Greek and Roman art, and general Roman civilization, history, and culture.

With a focus on the underwater context of sculptures retrieved from beneath the sea, this volume examines where, when, why and how sculptures were transported on the Mediterranean Sea during Classical Antiquity through the lenses of both maritime and classical archaeology.

"Roman imagery and iconography are typically studied under the more general umbrella of Roman art and in broader, medium-specific studies. This handbook focuses primarily on visual imagery in the Roman world, examined by context and period, and the evolving scholarly traditions of iconographic analysis and visual semiotics that have framed the modern study of these images. As such topics-or, more directly, the isolation of these topics from medium-specific or strictly temporal evaluations of Roman art-are uncommon in monograph-length studies, our goal is that this handbook will be an important reference for both the communicative value of images in the Roman world and the tradition of iconographical analysis. The chapters herein represent contributions from a number of leading and emerging authorities on Roman imagery and iconography from across the world, representing a variety of academic traditions and methods of image analysis"--