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The Syncretism of Belifes As Expressed in Roman Provincial Sculpture

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The Syncretism of Belifes As Expressed in Roman Provincial Sculpture SADRŽAJ PREDGOVOR ________________________________________________ 9 EINE SCHILDAMAZONOMACHIE BY MIRJANA SANADER AUS NASSENFELS ________________________________________ 101 VON GERHARD BAUCHHENSS FOREWORD ________________________________________________ 11 BY MIRJANA SANADER BAUPLASTIK AUS DEM BEREICH DES PODIUMTEMPELS VON FUNERARY MONUMENTS FROM DALMATIA, BADENWEILER (D) ______________________________________ 107 ISTRIA AND THE CROATIAN PART VON GABRIELE SEITZ OF PANONNIA. A COMPARATIVE STUDY _________ 13 BY NENAD CAMBI AUGUSTA RAURICA, EINE STATUETTENGRUPPE LES STELES FUNERAIRES A PERSONNAGES AUS WEISSEM PFEIFENTON _________________________ 115 ORIGINE DES THÈMES, MODÈLES ET DATES VON TEODORA TOMASEVIC BUCK À TRAVERS L’EMPIRE ROMAIN ________________________________ 31 DE FRANÇOIS BRAEMER ATTIS, PARTHER UND ANDERE BARBAREN. EIN BEITRAG ZUM VERSTÄNDNIS FLEXIBLE INTENT: SHIFTING VALUES VON ORIENTALENDARSTELLUNGEN & DISCREPANT MEANINGS IN AUF GRABSTEINEN DER NÖRDLICHEN ROMANO-BRITISH RELIGIOUS SCULPTURE _____ 53 PROVINZEN ______________________________________________ 121 BY MIRANDA ALDHOUSE-GREEN VON ALICE LANDSKRON CIVILIAN SCULPTORS AND THE CREATION BEMERKUNGEN ZU DEN FREISTEHENDEN OF ROMANO-BRITISH CIVILISATION IN GRABMEDAILLONS IN NORICUM _________________ 131 SOUTHERN BRITAIN ____________________________________ 59 VON ELISABETH WALDE BY MARTIN HENIG DIE DIONYSISCHEN DREIFIGURENRELIEFS TYPOLOGIE ET DÉCOR DES MONUMENTS VON HARTBERG UND BAD WALTERSDORF FUNÉRAIRES DE L’ARMORIQUE ROMAINE ______ 65 (STEIERMARK) ____________________________________________ 141 DES JEAN-YVES ÉVEILLARD/YVAN MALIGORNE VON ERWIN POCHMARSKI LA TOMBE MONUMENTALE DE NASIUM UND MARGARETHA POCHMARSKI-NAGELE (GAULE BELGIQUE): RÉFLEXIONS SUR LE SPUNTI DI RIFLESSIONE SU ALCUNI SYMBOLISME DES GRANDS MONUMENTS ASPETTI DEL CULTO DI BELENO SÉPULCRAUX DU NORD-EST DE LA GAULE _______ 75 E DI ANTINOO ___________________________________________ 157 DE JEAN-NOËL CASTORIO ANNALISA GIOVANNINI IUPPITERGIGANTENSÄULEN MANI ALZATE, MAINS LEVÉES, IM MUSEUM VON METZ – LA COUR D’OR ________ 85 VON HANNELORE ROSE UND ISABELLE BARDIÈS ERHOBENE HÄNDE. A PROPOSITO DI UN SARCOFAGO DELLA COLLEZIONE DER SARKOPHAG DER CORNELIA IACAENA. DI FRANCESCO DI TOPPO ___________________________ 175 EIN FRÜHER GIRLANDENSARKOPHAG BY FULVIA CILIBERTO/FULVIA MAINARDIS IN ARLES ____________________________________________________ 91 VON STEPHANIE BÖHM CULT AND MYTHOLOGICAL REPRESENTATIONS AS DECORATIVE ÜBERLEGUNGEN ZUR FORTUNA ELEMENTS OF PUBLIC BUILDINGS VON BERMEL _____________________________________________ 95 IN ROMAN POLA ________________________________________ 185 VON PATRICIA SCHWARZ BY KRISTINA DŽIN RELIEFS AND SCULPTURES OF DEITIES EIN JUPITERTORSO AUS DEM AND MYTHOLOGICAL REPRESENTATION AUXILIARKASTELL IN IŽA (SLOWAKEI) ____________ 293 AS DETERMINING FACTORS OF THE VON KLÁRA KUZMOVÁ SPIRITUAL LIFE IN ANTIQUE ISTRIA _____________ 191 BY VESNA GIRARDI-JURKIĆ RÖMISCHE GÖTTER UND MYTHISCHE GESTALTEN AUS POETOVIO STATUE OF A ROMAN GODDESS AUF STEINDENKMÄLERN FROM THE FORUM OF PULA ________________________ 197 IM LANDESMUSEUM PTUJ ____________________________ 299 BY ALKA STARAC VON MOJCA VOMER GOJKOVIČ THE ICONOGRAPHY OF INDIGENOUS JÜNGLINGSGESTALTEN MIT WAFFE CULTS IN NORTHERN LIBURNIA _________________ 201 AUF PANNONISCHEN GEMMEN ___________________ 305 BY ROBERT MATIJAŠIĆ VON TAMÁS GESZTELYI AFTERLIFE IDEAS ON MILITARY MACHTSPLITTER – ARCHITEKTURTEILE MONUMENTS IN NARONA HINTERLAND _____ 205 AUS DER KAISERRESIDENZ SIRMIUM BY RADOSLAV DODIG (SREMSKA MITROVICA) _______________________________ 311 VON CHRISTINE ERTEL RELIGION AND MYTH ON MONUMENTS FROM ZADAR AND SURROUNDINGS EINE NEUE BILDHAUERWERKSTATT IN THE ARCHAEOLOGICAL MUSEUM IM OBERLAND DES BALATON IN ZADAR _________________________________________________ 213 (PLATTENSEE)? ___________________________________________ 319 BY KORNELIJA A. GIUNIO VON SYLVIA PALÁGYI KULTSKULPTUREN DIE GIGANTEN VOM PFAFFENBERG AUS DER ANTIKEN STADT SENIA __________________ 223 BEI CARNUNTUM _______________________________________ 329 VON MIROSLAV GLAVIČIĆ VON GABRIELLE KREMER RELIEFS OF THE LABOURS OF HERACLES DURCHBROCHEN GEARBEITETE ON A ROMAN “SARCOPHAGUS” WEIHRELIEFS AUS DAKIEN __________________________ 337 IN THE CHURCH OF ST CAIUS IN SOLIN _______ 229 VON ALFRED SCHÄFER BY JASNA JELIČIĆ-RADONIĆ CULT SYMBOLS AND IMAGES RELIGIOUS TESTIMONIES FOUND ON FUNERARY MONUMENTS ON ROMAN GEMS FROM DALMATIA OF THE ROMAN PERIOD KEPT IN THE ARCHAEOLOGICAL IN THE CENTRAL SECTION MUSEUM IN VENICE ___________________________237 OF DARDANIA ___________________________________________ 343 BY BRUNA NARDELLI BY EXHLALE DOBRUNA-SALIHU HVCVSOVE – “THIS IS WHERE SACRIFICES DIE PLASTISCHE AUSSTATTUNG WERE OFFERED” – ARCHAEOLOGICAL FINDS VON HEILIGTÜMERN DES THRAKISCHEN IN THE SUBSTRUCTIONS REITERS IM TERRITORIUM OF DIOCLETIAN’S PALACE IN SPLIT ______________ 243 VON PHILIPPOPOLIS (PLOVDIV) __________________ 351 BY TAJMA RISMONDO VON MANFRED OPPERMANN SOME EXAMPLES OF LOCAL PRODUCTION NOVAE – STELES OF MITHRAIC RELIEFS FROM ROMAN WITH REPRESENTATIONS OF BIRDS ______________ 363 DALMATIA _________________________________________________ 249 BY PIOTR DYCZEK BY GORANKA LIPOVAC VRKLJAN PAST AND PRESENT: DIANA AND THE FAWN ______________________________ 259 NOTES ON THE IDENTITY BY MARINA MILIĆEVIĆ BRADAČ OF ROMAN IMPERIAL SMYRNA ____________________ 373 TYPOLOGY OF MITHRAIC CULT RELIEFS BY CARLO FRANCO FROM SOUTH-EASTERN EUROPE __________________ 269 OMNIPOTENS ET OMNIPARENS DEA SYRIA. BY ŽELJKO MILETIĆ ASPECTS OF HER ICONOGRAPHY __________________ 381 THE ANCIENT CULTUAL UNITY BETWEEN BY ILONA SKUPINSKA-LOVSET THE CENTRAL ADRIATIC LITTORAL ANTAIOS, AN EGYPTIAN GOD AND THE DELMATIAN HINTERLAND ____________ 275 BY MARIN ZANINOVIĆ IN ROMAN EGYPT: EXTRACTING AN ICONOGRAPHY _________________ 389 EINE UNVERÖFFENTLICHTE GRABSTELE BY DONALD BAILEY AUS TILURIUM _________________________________281 VON DOMAGOJ TONČINIĆ THE PAMPHILI OBELISK: TWO NOTES ON PHARAONIC ELEMENTS FORTUNA-NEMESIS STATUES IN AQUINCUM __ 287 IN DOMITIAN IDEOLOGY ____________________________ 399 BY KRISZTINA SZIRMAI BY EMANUELE M. CIAMPINI ROMANIZING BAAL: RÖMISCHE STEINDENKMÄLER THE ART OF SATURN WORSHIP IN DER WEB-PLATTFORM IN NORTH AFRICA _____________________________________ 403 WWW.UBI-ERAT-LUPA.ORG ___________________________ 441 BY ANDREW WILSON VON FRIEDERIKE HARL UND KURT SCHALLER THE SYNCRETISM OF BELIFES ‘STEIN – RELIEF- INSCHRIFT'. KONTUREN AS EXPRESSED IN ROMAN EINES FORSCHUNGSPROJEKTES ___________________ 449 PROVINCIAL SCULPTURE ____________________________ 409 VON CH. HEMMERS, ST. TRAXLER, CH. UHLIR BY CLAIRE K. LINDGREN UND W. WOHLMAYR ÜBERALL (GÖTTER)GLEICH? – THEOMORPHE BILDNISSE EIN NEUFUND AUS DER STEIERMARK ___________ 455 DER FRAUEN VON BERNHARD HEBERT DES RÖMISCHEN KAISERHAUSES __________________ 415 VON ANNETTA ALEXANDRIDIS ‘DIE TREFFLICHE GRUPPE DER FLUCHT DES ÄNEAS’. EIN TROIANISCHES THEMA IN DER PROVINZ: DIE AENEAS-GRUPPE IN STUTTGART UND VERWANDTE DARSTELLUNGEN. ZU IKONOGRAPHIE UND BEDEUTUNG. _____________________________________ 423 VON JUTTA RONKE DIE BEFRACHTUNG GÄNGIGER GRIECHISCH-RÖMISCHER SYMBOLE PROGRAM KOLOKVIJA MIT NEUEN RELIGIÖSEN INHALTEN (PROGRAMM, PROGRAM, PROGRAMME) ________ 457 AUF DEN RELIEFS DER MITHRASMYSTERIEN ___________________________ 433 SUDIONICI (TEILNEHMER, VON MARIA WEISS PARTICIPANTS, PARTICIPANTS) _____________________ 459 THE SYNCRETISM OF BELIFES AS EXPRESSED IN ROMAN PROVINCIAL SCULPTURE BY CLAIRE K. LINDGREN he number three and depictions in threes pos- life, birth, death and rebirth; or most probably a com- sessed unprecedented importance for ancient bination of the two, the life cycle within the material TEuropean peoples. From the Mediterranean to world. Curiously, the ancient Greeks also used a styl- the northernmost areas threes are omnipresent in the ized triskelion and in Mediterranean regions it was asso- traditions of this formerly barbarian, primarily Celtic ciated with competition or progress, sometimes deline- world. I have chosen here to use the words three or threes ated as three attached running legs or as an abstraction rather than triplication or triune or triad because of the of those three legs, a completely different meaning for implications inherent in those words. The word tripli- a visually similar icon. Moreover, Greek thought was cation suggests one form or symbol for a form repeated more pragmatic with regard to the material world; to three times, the word triune indicates a group of three the ancient Greek there were four elements earth, air, things united as one, and the word triad indicates the fire and water and no cycle of reincarnation. combination of separate and essentially individual enti- Thus, It seems surprising to find atriskelion in re- ties. Initially then, three or threes seem to be a more gen- poussé technique on a Celtic roundel of silver from eral connotation to employ when first considering ques- Brescia, Italy (Fig. 1) This work, the largest of several tions which arise when this affinity for threes is found in silver discs (3 large discs were found with 14 smaller the context of the religious art of the Roman provinces. discs or portions thereof), is 19.2 cm. in diameter and Namely, is the use of three or threes an expres- was considered by Jacobsthal to be an ornamental at- sion of a trinitarian concept (a triad) and indicative tachment for clothing rather than a phalera and is dated of a possible syncretism of beliefs, illustrated by either to the III or II century BCE. Decoration consists of a the Romanization
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