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It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All ofthis, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it.Through systematic case studies of Faustina the Younger's and Marcus Aurelius' portraits on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult, much-discussed subject forward decisively. The newevidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of 'repeated' imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marbleworkshops.
It has long been thought that imperial portrait types were officially commissioned to commemorate specific historical moments and that they were made available to both the mint and the marble workshops in Rome, assuming a close correspondence between portraits on coins and in the round. All of this, however, has never been clearly proven, nor has it been disproven by a close systematic examination of the evidence on a broad material basis by those scholars who have questioned it. Through systematic case studies of Faustina the Younger's and Marcus Aurelius' portraits on coins and in sculpture, this book provides new insights into the functioning of the imperial image in Rome in the second century AD that move a difficult, much-discussed subject forward decisively. The new evidence presented here has made it necessary to adjust the established model; more flexibility is needed to describe the processes and practices behind the phenomenon of 'repeated' imperial portraits and how the imperial portrait worked in the mint of Rome and in the metropolitan marble workshops.
A complete introduction to the rich cultural legacy of Rome through the study of Roman art ... It includes a discussion of the relevance of Rome to the modern world, a short historical overview, and descriptions of forty-five works of art in the Roman collection organized in three thematic sections: Power and Authority in Roman Portraiture; Myth, Religion, and the Afterlife; and Daily Life in Ancient Rome. This resource also provides lesson plans and classroom activities."--Publisher website.
The highest honour a Roman citizen could hope for was a portrait statue in the forum of his city. While the emperor and high senatorial officials were routinely awarded statues, strong competition existed among local benefactors to obtain this honour, which proclaimed and perpetuated the memory of the patron and his family for generations. There were many ways to earn a portrait statue but such local figures often had to wait until they had passed away before the public finally fulfilled their expectations. It is argued in this book that our understanding and contemplation of a Roman portrait statue is greatly enriched, when we consider its wider historical context, its original setting, the circumstances of its production and style, and its base which, in many cases, bore a text that contributed to the rhetorical power of the image.
This book explains why Roman portrait statues, famed for their individuality, repeatedly employed the same body forms.
Ancestry played a continuous role in the construction and portrayal of Roman emperorship in the first three centuries AD. Emperors and Ancestors is the first systematic analysis of the different ways in which imperial lineage was represented in the various 'media' through which images of emperors could be transmitted. Looking beyond individual rulers, Hekster evaluates evidence over an extended period of time and differentiates between various types of sources, such as inscriptions, sculpture, architecture, literary text, and particularly central coinage, which forms the most convenient source material for a modern reconstruction of Roman representations over a prolonged period of time. The volume explores how the different media in use sent out different messages. The importance of local notions and traditions in the choice of local representations of imperial ancestry are emphasized, revealing that there was no monopoly on image-forming by the Roman centre and far less interaction between central and local imagery than is commonly held. Imperial ancestry is defined through various parallel developments at Rome and in the provinces. Some messages resonated outside the centre but only when they were made explicit and fitted local practice and the discourse of the medium. The construction of imperial ancestry was constrained by the local expectations of how a ruler should present himself, and standardization over time of the images and languages that could be employed in the 'media' at imperial disposal. Roman emperorship is therefore shown to be a constant process of construction within genres of communication, representation, and public symbolism.