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University of Southampton Research Repository University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non- commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Stéphanie Mailleur-Aldbiyat (2020) " Imagining Roman Ports. The Contribution of Iconography to the Reconstruction of Roman Mediterranean Portscapes of the Imperial Period", University of Southampton, Faculty of Arts and Humanities, PhD Thesis. Data: Stéphanie Mailleur-Aldbiyat (2020) Title. URI [dataset] Faculty of Arts and Humanities Archaeology Imagining Roman Ports. The Contribution of Iconography to the Reconstruction of Roman Mediterranean Portscapes of the Imperial Period by Stéphanie Mailleur-Aldbiyat VOLUME I: THESIS Thesis for the degree of Doctor of Philosophy January 2020 II UNIVERSITY OF SOUTHAMPTON ABSTRACT Faculty of Humanities Archaeology Thesis for the degree of Doctor of Philosophy IMAGINING ROMAN PORTS. THE CONTRIBUTION OF ICONOGRAPHY TO THE RECONSTRUCTION OF ROMAN MEDITERRANEAN PORTSCAPES OF THE IMPERIAL PERIOD Stéphanie Mailleur-Aldbiyat Under the Roman Empire, harbours played an important role for the image of the city. They were more than utilitarian constructions. The buildings and monuments were organised within the space of the port in a programmatic way that made up a genuine urban landscape that I have described as a “portscape”. This term, derived from Zanker’s townscape concept, is understood as the urban aspect, layout and design of Roman ports but also as the lived environment with its societies reflected by its cultural characteristics. Despite recent excavations conducted at Roman ports, our knowledge of portscapes under the Roman Empire is very unclear and the reality of port monuments remains poorly understood. Most known ancient Mediterranean ports are not well preserved, and often only preserved archaeologically at the level of their foundations. While archaeologists are able to reconstruct a plan, understanding ports three dimensionally is at best a challenge. What did Roman ports really look like? Due to the lack of ancient sources relating to Roman ports, using iconography could be useful. This research aims to demonstrate that port depictions, quite abundant during the Imperial period and decorating various type of artistic media (coins, ceramics, mosaics, paintings, gemstones etc.), can make an important contribution for learning more about ports as they are the only source of information that allows us to understand volumetrically, the architecture of ports that no longer survives archaeologically. I Through this work, I will see how the pictorial genre of maritime landscape emerged during the Augustan period as well as the process of its diffusion, reception and standardisation in art during the Imperial period. I will also address the issue of the contexts in which port-themed decoration has been found. I will focus on the main characteristics of portscapes by means of a linguistic approach that distinguishes the different messages conveyed by images according to their contexts (domestic, funeral, politics, etc.). By means of three specific case studies, I will demonstrate how it is possible to deal with the iconographic and epigraphic evidence in order to better understand the components of Roman portscapes. Case-study 1 focuses on the weighing control systems (sacomaria). Case-study 2 studies the single monuments that decorated the portscape, such as freestanding column monuments and honorific arches. Case-study 3 aims to better understand cult spaces in port contexts by using the example of the sanctuaries of Isis. Finally, I will focus on the urban syntax of the portscape through the case-study of the port of Leptis Magna. Enquiry will ascertain the extent to which the urban programme of its portscape corresponded to a standard design in reality and in iconography. II UNIVERSITÉ LYON II-LUMIÈRE RÉSUMÉ UFR Temps et territoires Archéologie et Histoire des Mondes Anciens Thèse de Doctorat IMAGINER LES PORTS ROMAINS. LA CONTRIBUTION DE L’ICONOGRAPHIE A LA RECONSTITUTION DES PAYSAGES PORTUAIRES DE MEDITERRANEE A L’EPOQUE IMPERIALE. Stéphanie Mailleur-Aldbiyat Au cours des trois premiers siècles de notre ère, Rome connait son apogée et la domination romaine continue de s'établir tout autour de la Méditerranée. Le contrôle de la Mare Nostrum et la connexion entre Rome et ses provinces sont assurés grâce aux réseaux de ports. À l’époque impériale, les ports jouent ainsi un rôle crucial puisqu’ils permettent de maintenir un rayonnement économique et commercial tout autour de l’Empire. Plus qu’une simple interface entre la mer et la terre, les ports font l’objet d’une attention particulière et forment un réel paysage urbain, constitué de bâtiments et de monuments organisés autour de l’espace portuaire de façon scénographique et programmée, que l’on peut qualifier de « portscape » (paysage portuaire). Cette notion théorique, que j’ai développée dans cette thèse, est dérivée du concept de « townscape » (paysage de la ville) introduit par P. Zanker dans sa publication sur l’urbanisme de Pompéi publiée en 19981. Elle consiste à analyser l’organisation spatiale des bâtiments et monuments, individuellement et dans l’ensemble de l’espace portuaire, ainsi que leurs fonctions respectives. Cette approche a également pour objectif d’étudier la relation entre la fabrication de cet espace urbain et la société. Cette réflexion holistique est combinée au concept de « maritime cultural landscape » (paysage culturel maritime), introduit par C. Westerdhal en 19922, qui permet d’aborder les aspects culturels de cet espace construit constituant le cadre de vie des sociétés portuaires et de leurs activités. 1 Zanker 1998, Pompeii: Public and Private Life, p. 3. 2 Westerdahl 1992, “The maritime cultural landscape”, International Journal of Nautical Archaeology, 21, pp. 5- 14. III Le développement disciplinaire de l’archéologie sous-marine et l’intérêt croissant pour les réseaux et le commerce maritime ont mené à la multiplication des études portant sur les infrastructures portuaires au cours des dernières décennies. Malgré cela, la réalité des infrastructures portuaires reste assez mal comprise car les vestiges ne sont généralement pas très bien conservés. Il est donc fondamental d’utiliser d’autres types de sources, comme l’iconographie, pour mieux appréhender les « portscapes » romains. Sous l’Empire, les ports apparaissent fréquemment dans les représentations artistiques. Au cours de cette recherche, j’ai rassemblé un corpus de 264 images portuaires sur des supports variés : lampes, monnaies, peintures, mosaïques, sculptures, verres incisés, pierres gravées etc. Sur ces documents figurent des vues générales de paysages maritimes, des éléments architecturaux isolés de ports (tels que des phares) et des activités portuaires suggérant les infrastructures portuaires (comme des scènes de pesée ou bien des scènes de chargement/déchargement de marchandises). Bien que l’essentiel du corpus date de l’époque impériale, l’intégration de documents appartenant aux périodes préromaines et à l’Antiquité tardive permet d’établir des comparaisons diachroniques. Cette recherche constitue la première tentative d’évaluation, à grande échelle, du potentiel documentaire des sources iconographiques pour comprendre l'aspect, la disposition et le design des ports romains. Considérer les images comme sources historiques est un concept assez récent puisque l'art, longtemps considéré comme étant simplement illustratif, n’occupait qu’une place marginale dans les études d’histoire ancienne. Les images peuvent apporter, en effet, une contribution importante pour l'étude de l'aspect architectural et urbain des principaux ports de Méditerranée car elles montrent ce qui n'existe plus archéologiquement, telles que les élévations de bâtiments portuaires, souvent réduits aujourd’hui à leurs seuls niveaux de fondations. Ainsi, cette thèse de doctorat soulève les questions de recherche suivantes : - Quelle contribution l'iconographie peut-elle apporter à notre compréhension des paysages portuaires de l’époque impériale ? - Quelles sont les caractéristiques du « portscape » romain selon les sources iconographiques ? - Quels sont les éléments réels et quels sont les éléments standardisés ? D’où viennent ces standards ? - Dans quelle mesure pouvons-nous confronter l'iconographie à d'autres types de sources (comme l'épigraphie et l'archéologie) pour mieux comprendre la « réalité » du paysage portuaire ? IV Pour répondre à ces problématiques, ma thèse s’articule en sept chapitres : Le chapitre 1 introduit le contexte et l’intérêt de la thèse, les principales questions de recherche à aborder et offre un aperçu du potentiel et des limites de l’usage des sources iconographiques. Le chapitre 2 présente les cadres théoriques qui permettent de contextualiser et définir le concept du portscape ainsi que les questions relatives à l'influence de la politique et de la religion dans
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