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Und Theseus-Darstellungen Auf Campana-Reliefs Nathalie Möller-Titel Herakles- und Theseus-Darstellungen auf Campana-Reliefs Nathalie Möller-Titel Herakles- und Theseus- Darstellungen auf Campana-Reliefs Untersuchungen zur Adaption und Tradierung zweier griechischer Helden in römischer Zeit Zugl.: Dissertation, Universität Hamburg, 2017 u. d. T. Herakles- und Theseusdarstellungen auf Campana-Reliefs BIBLIOGRAFISCHE INFORMATION DER DEUTSCHEN NATIONALBIBLIOTHEK Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über https://portal.dnb.de abrufbar. ONLINE-AUSGABE Die Online-Ausgabe dieses Werkes ist eine Open-Access-Publikation und ist auf den Verlagswebseiten frei verfügbar. Die Deutsche Nationalbibliothek hat die Online-Ausgabe archiviert. Diese ist dauerhaft auf dem Archivserver der Deutschen Nationalbibliothek (https://portal.dnb.de/) verfügbar. DOI https://dx.doi.org/10.15460/HUP.HHD.004.197 PRINTAUSGABE ISBN 978-3-943423-70-9 LIZENZ Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Das Werk steht unter der Creative-Commons-Lizenz Namensnennung 4.0 International (CC BY 4.0, https://creativecommons.org/licenses/by/4.0/legalcode.de). Ausgenommen von der oben genannten Lizenz sind Teile, Abbildungen und sonstiges Drittmaterial, wenn anders gekennzeichnet. GESTALTUNG Merle Papenfuß SCHRIFT Gentium / Source Sans Pro DRUCK UND BINDUNG Books on Demand, Norderstedt VERLAG Hamburg University Press, Verlag der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, Hamburg (Deutschland), 2019 http://hup.sub.uni-hamburg.de Zusammenfassung Gegenstand dieser Untersuchung bilden Darstellungen von Herakles und Theseus auf römischen Terrakottaplatten, den sog. Campana-Reliefs. Als Grundlage dienen 16 unterschiedliche Bildthemen, die Mitte des 1. Jhs. v. Chr. erstmalig für die Cam- pana-Reliefs nachgewiesen sind. Ziel der Arbeit ist es aufzuzeigen, auf welche Weise diese Motive, die teils seit klassischer und hellenistischer Zeit nachweisbar sind, wie- dergegeben und tradiert wurden und welche Bedeutungen ihnen vor dem zeitge- schichtlichen Hintergrund der ausgehenden Republik und frühen Kaiserzeit zu- grunde liegen. The subject of this study are depictions of Heracles and Theseus on Roman terracotta reliefs, also called Campana reliefs. It is based on 16 different motifs, which were established during the middle of the 1st century B.C. The aim of the study is to show how these motifs were received and what meaning lies behind these reliefs regard- ing the historical background of the late Republic and early imperial period. Danksagung Die vorliegende Arbeit stellt die geringfügig überarbeitete Version meiner im Febru- ar 2017 an der Universität Hamburg eingereichten und von der Prüfungskommission angenommenen Dissertation dar. Gegenstand der Untersuchung sind Campana-Reliefs, römische, ab dem 1. Jh. v. Chr. produzierte architektonische Terrakotta-Platten, die besonders durch ihr thematisch vielseitiges Bilddekor hervorstechen. Diese Arbeit widmet sich den Hera- kles- und Theseusdarstellungen, die zu den bislang wenig beachteten Bildthemen zählen. Die Arbeit berücksichtigt den Publikationsstand bis Februar 2017. Die SOJA 2013 ermöglichte mir durch einen Vortrag und die Publikation von ebendiesem eine erste Vorstellung der Thematik und der in dieser Arbeit angeführ- ten Thesen. Vom Gleichstellungsfond der Universität Hamburg erhielt ich ein Sti- pendium im Jahr 2015. Ich danke vor allem Martina Seifert für die Betreuung und Unterstützung meiner Arbeit. Sie stand mir durch ihre anregenden Ratschläge stets zur Seite und gab mir über die Aufgaben als Doktormutter hinaus sowohl beruflich als auch privat Rückhalt. Mein Dank gilt außerdem Inge Nielsen für die freundliche Übernahme des Zweitgutachtens sowie Daniela Hofmann für ihr Mitwirken in der Prüfungskommission. Ich bin zahlreichen Mitarbeitern an universitären und musealen Einrichtungen zu großem Dank verpflichtet, die es mir ermöglicht haben, die Campana-Reliefs in den Jahren 2010 und 2013 am Original zu studieren, so Kordelia Knoll und Saskia Wetzig (Staatliche Kunstsammlungen Dresden), Hans-Peter Müller (Universität Leipzig), Katharina Krügel (Klassik Stiftung Weimar), Ingo Pfeifer (Kulturstiftung Dessau-Wörlitz), Friederike Naumann-Steckner (Römisch-Germanisches Museum, Köln), Dagmar Stutzinger (Archäologisches Museum Frankfurt), Daniel Graepler (Universität Göttingen), Frank Hildebrandt (Museum für Kunst und Gewerbe Ham- burg), Veit Stürmer (†) (Humboldt-Universität zu Berlin), Volker Kästner (Staatliche Museen zu Berlin), Anne Viola Siebert (Museum August Kestner, Hannover), Her- mann Pflug (Universität Heidelberg), Claudia Braun (Reiss-Engelhorn-Museen, Mannheim), Irma Wehgartner (Universität Würzburg), Martin Boss (Universität Er- langen), Joachim Raeder (Kunsthalle zu Kiel), Natascha Kreutz (Universität Tübin- gen), Matthias Steinhart (Staatliche Antikensammlungen und Glyptothek, Mün- chen), Julie Lejsgaard Christensen und Kristine Bøggild Johannsen (Tholvaldsens Museum, Kopenhagen), Bodil Bundgaard Rasmussen (Nationalmuseum, Kopenha- gen) und besonders Jan Stubbe Østergaard (Ny Carlsberg Glyptotek, Kopenhagen), der mir im Jahr 2013 durch ein Aufenthaltsstipendium der Ny Carlsberg Foundation den Aufenthalt in Kopenhagen ermöglicht hat. Weiterhin danke ich meinen Kommilitonen, die mich während der Entstehung dieser Arbeit durch anregende Gespräche und Diskussionen und schließlich das Kor- rekturlesen begleitet haben, hier insbesondere Jacobus Bracker, Lioba Tempel, Julia Daum und Veronika Straub. Ich danke weiterhin Valerie Schäfers und Atillâ Yurtse- ver für die Hilfestellung bei Bild- und Satzprogrammen. Ich danke meiner Mutter Luciana Möller für die immerwährende Unterstützung über all die Jahre, besonders nach dem Tod meines Vaters Gerhard Möller, meinem Mann Matthias Möller-Titel für seinen Rückhalt und seine Liebe und vor allem danke ich meiner Tochter Lea für ihre Geduld. Ihr und meinem Sohn Noah, der zum Zeit- punkt der Fertigstellung dieser Arbeit noch in meinem Bauch schlief, ist dieses Buch gewidmet. Nathalie Möller-Titel, im September 2019 INHALT Zusammenfassung V Danksagung VI Abbildungsverzeichnis XIII 1 Einleitung 1 1.1 Forschungsstand 3 1.1.1 Anbringung, Funktion und Verbreitung 3 1.1.2 Forschungsgeschichte 5 1.2 Forschungsgegenstand – Desiderat – Fragestellung 7 1.3 Methoden 10 1.3.1 Vorgehen und Methodik 10 1.3.2 Terminologie 14 2 Herakles 19 2.1 Streit um den Delphischen Dreifuß 20 2.1.1 Beschreibung 20 2.1.2 Varianten und Serien 21 2.1.3 Deutung 31 2.1.4 Bildtradition: Zur Neugestaltung alter Schemata 32 2.1.5 Stilanalyse 34 2.1.6 Datierung 37 2.1.7 Interpretation: Der Dreifuß als augusteisches Friedenssymbol 39 2.2 Heroentaten 45 2.2.1 Fundorte und Gestaltungsmerkmale 45 2.2.2 Die Tötung des Nemeischen Löwen 49 2.2.3 Die Tötung der Lernäischen Hydra 59 2.2.4 Das Einfangen des Kretischen Stieres 65 2.2.5 Datierung 70 2.2.6 Interpretation: Herakles als vorbildhafter Heros 73 2.3 Herakles in Eleusis 77 2.3.1 Beschreibung und Deutung 78 2.3.2 Bildtradition: Ikonografische Neuschöpfungen des 1. Jhs. v. Chr. 86 2.3.3 Stilanalyse 88 2.3.4 Datierung 94 2.3.5 Interpretation: Entsühnung als persönliches Vorbild 95 2.4 Winterhore und Stierträger 99 2.4.1 Beschreibung und Serienzuweisung 99 2.4.2 Deutung 103 2.4.3 Bildtradition: Ikonografische Neuschöpfungen des 1. Jhs. v. Chr. 115 2.4.4 Stilanalyse 118 2.4.5 Datierung 119 2.4.6 Interpretation: Herakles als vorbildhafter Kultausüber 121 2.5 Der gelagerte Herakles 123 2.5.1 Beschreibung und Serienzuweisung 124 2.5.2 Deutung 125 2.5.3 Bildtradition: Zur Adaption und Umbildung von hellenistischen Brunnenfiguren 127 2.5.4 Stilanalyse 130 2.5.5 Datierung 132 2.5.6 Interpretation: Der gealterte Herakles als Sinnbild des ruhmreichen Heros 133 2.6 Omphale und Eroten mit den Attributen des Herakles 135 2.6.1 Beschreibung und Serienzuweisung 136 2.6.2 Deutung 138 2.6.3 Bildtradition: Ikonografische Neuschöpfungen des 1. Jhs. v. Chr. 139 2.6.4 Stil 144 2.6.5 Datierung 145 2.6.6 Interpretation: Sinnbild des privaten Lebensglücks. Zur Neubewertung eines griechischen Mythos 146 3 Theseus 151 3.1 Reliefs aus caeretaner Werkstatt 152 3.1.1 Die Auffindung der Gnorismata 154 3.1.2 Die Bestrafung des Sinis 161 3.1.3 Theseus und sog. Keulenträger 170 3.1.4 Werkstatt und Datierung 176 3.1.5 Interpretation: Allegorien der Herrschaftslegitimation 178 3.2 Die Bändigung des Marathonischen Stieres 187 3.2.1 Bildbeschreibung und Beschreibung der Typen 188 3.2.2 Deutung 192 3.2.3 Bildtradition: Zur Rezeption und Adaption des sog. Knieschemas 193 3.2.4 Stilanalyse 199 3.2.5 Datierung 200 3.2.6 Interpretation: Der Stierkampf als Allegorie der Herrschaftslegitimation 203 3.3 Die Bestrafung des Skiron 206 3.3.1 Bildbeschreibung sowie Varianten- und Serienzuweisung 206 3.3.2 Deutung 211 3.3.3 Bildtradition: Zur Verknüpfung zweier Bildschemata des 5. Jhs. v. Chr. 212 3.3.4 Stilanalyse 215 3.3.5 Datierung 216 3.3.6 Interpretation: Theseus als Bezwinger des Barbarentums 218 3.4 Aigeus erkennt seinen Sohn Theseus wieder 221 3.4.1 Bildbeschreibung sowie Varianten- und Serienzuweisung 222 3.4.2 Deutung 232 3.4.3 Bildtradition: Zur ikonografischen Neuschöpfung eines griechischen Mythos 235 3.4.4 Stilanalyse 237 3.4.5 Datierung 239 3.4.6 Interpretation: Theseus als Allegorie des rechtmäßigen Nachfolgers 243 3.5 Theseus’ Abschied von Ariadne 246 3.5.1 Beschreibung sowie Serien und Variantenzuweisung 247 3.5.2 Deutung 252 3.5.3 Exkurs: Der sog. Vogelorakel-Typus 254 3.5.4 Bildtradition:
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