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The Sebasteion at Aphrodisias: an Imperial Cult to Honor Augustus and the Julio-Claudian Emperors

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The Sebasteion at Aphrodisias: an Imperial Cult to Honor Augustus and the Julio-Claudian Emperors Geraldine Thommen The Sebasteion at Aphrodisias: An Imperial Cult to Honor Augustus and the Julio-Claudian Emperors Geraldine Thommen Augustus and the Julio-Claudian emperors’ successful reign over the vast Roman Empire were due primarily to provincial loyalty and acquiescence. My research examines the intermingling of Roman, Hellenistic, and Aphrodisian art forms in the imperial sculptural reliefs of the Sebasteion at Aphrodisias in order to demonstrate the use of visual art forms to express provincial loyalty to the princeps. I argue that the diverse artistic styles of the Sebasteion’s imperial reliefs’ represent definitive evidence of an imperial cult in the eastern provinces and signify imperial concordia, a primary aspect in the successful reign of Augustus and the Julio-Claudians emperors. 82 Chronika The Sebasteion at Aphrodisias: An Imperial Cult to Honor Augustus and the Julio-Claudian Emperors The successful reign of Augustus and the Excavations of Aphrodisias began in 1960 Julio-Claudian emperors over the vast by New York University professor Kenan Roman Empire was due in large part to Erim, and inscriptions, uncovered on provincial loyalty and acquiescence. In fortified city walls, dated Aphrodisias’s order to express their allegiance to Rome founding between the late 2nd century and and distinguish themselves from the cities early 1st century B.C.E. based on decrees in the east, provincial leaders created issued from Rome.1 According to a large imperial cults to honor the rulers of the number of inscriptions discovered along empire. Cults dedicated to the worship the northern side of the city’s theater, of kings was a customary practice in the referred to as the “Archive Wall,” many eastern provinces, but imperial cults Roman Republic leaders, including Sulla established for Augustus and the Julio- and Julius Caesar, established political Claudian emperors used distinct forms relationships with the city and many of of art and architecture to publicly display its elite families. By the late 30s B.C.E., their loyalty and worship to their new the city of Aphrodisias became a leading leader. Provincial populations also created province in the East for the Roman imperial cults as visual acknowledgment Empire, in both strategic location and of the emperor’s imperial propaganda, natural resources. In his Annals, the including his auctoritas, potestas, and ancient historian Publius Cornelius Tacitus pietas. documents that Aphrodisias became an advantageous locale for Rome’s military My research paper argues that the and political ventures throughout the Sebasteion at Aphrodisias, a temple and East, and he states that the city received sanctuary dedicated to Augustus, Aphrodite high praise from Augustus regarding the Aphrodisias, and the Julio-Claudian “fidelity to the Roman nation with which emperors, represents definitive evidence they had sustained the Parthian inroad.”2 of an imperial cult, based on the structures and sculptural program created in response The concept of eastern imperial cult to imperial conquest. Questions I will became an established religious and consider include, how was the creation of political practice long before the reign imperial cult viewed by the emperor, in of the Roman emperors. Kings in the what specific ways did imperial cult benefit Hellenistic East legitimized their power Aphrodisias and the emperor, how did the and divine right as absolute rulers by their intermingling of artistic styles promote association with a state pantheon, and imperial rule, and in what way did imperial Roman republic leaders, including Lucius cults in the East permit the provinces to Cornelius Sulla and Julius Caesar, used elevate their status within the empire? My eastern cults to validate their elevated research examines the Sebasteion’s distinct status. Eastern imperial cults offered god- intermingling of Roman, Hellenistic, and like honors, referred to as isotheoi timai, so Aphrodisian art and architectural forms, that citizens could express eusebeia (‘piety’) and focuses on three imperial reliefs within and eunoΓsein (‘loyalty’) to the isotheos the sanctuary-temple’s sculptural program. (‘one equal to the gods’).3 The imperial At the conclusion of my paper, I hope to cult that developed in the East to honor have demonstrated that the Sebasteion in Augustus and his Julio-Claudian, although Aphrodisias represents a unique Eastern based on the same principles used to architectural design that provides strong venerate Hellenistic monarchs and Roman evidence of a provincial imperial cult to Republic leaders, established different honor Augustus and the Julio-Claudian terminology and distinct forms of art and emperors. architecture to express their loyalty to the Institute for European and Mediterranean Archaeology 83 Geraldine Thommen rulers of the Roman Empire.4 The term sebastos (‘holy/revered place’) is the Greek equivalent for augustus and became the title bestowed upon the imperial emperor in the eastern provinces.5 Although the Roman princeps never officially sanctioned the establishment of imperial cults in the east; the honors were positively received by the emperors, which were advantageous for their reign and provided visual acknowledgment of Augustan and Julio- Claudian propaganda in the East. Ancient historical texts document that citizens in the provinces were encouraged to honor the emperors, and express gratitude and loyalty to Rome. Pliny states in his Natural History that the Roman Empire was the “nurse and mother of all the lands…and joined together scattered empires,” implying that Rome and the emperors had established a communis patria for all citizens.6 The quote insinuates that the numerous political and economic improvements, at least based on Roman standards, put in place after the conquest of the East by the Roman Empire brought prosperity and peace to these impoverished or barbaric regions. Due to the strong relationship between Augustus and the leaders of Aphrodisias prior to the Roman conquest, the prosperity that the city experienced after Augustus became emperor, and the citizenship bestowed upon many of the Aphrodisian aristocracy, Figure 1: Partial reconstructed elevation of South certainly validates Pliny the Elder’s notion Portico that Rome was the nurturer of all lands. oriented Sebasteion combined Hellenistic The Sebasteion, discovered during a 1979 and Roman architectural conventions, excavation of Aphrodisias, not only signifies but unusual architectural elements and decorative forms reveal the development evidence of an imperial cult in name, but 7 also in its design, function, and sculptural of an innovative Aphrodisian style. decoration. According to inscriptions found on the temple’s architrave, construction The axial-symmetrical plan appears to be began during the reign of Tiberius, but modeled on imperial fora, most notably due to numerous earthquakes during the those created in Rome for Caesar and mid-1st century C.E. reconstruction and Augustus; both contain temples axially placed at the end of symmetrically completion of the temple-sanctuary did not 8 occur until the reign of Nero. The east-west flanking porticoes. Each portico contains superimposed columns, a different order 84 Chronika The Sebasteion at Aphrodisias: An Imperial Cult to Honor Augustus and the Julio-Claudian Emperors signifying each story, but the height and place, based on two recovered reliefs of the porticoes, and their placement depicting personifications of Day and flanking a long processional or sanctuary Ocean, Hermera and Oceanus.12 way represents a distinct Aphrodisian architectural design (Fig. 1); this unique The second storey reliefs contained format of elements was not replicated prototypical scenes from the standard in any other cities in the Greek East. canon of Greek religion and mythology, The use of Roman building forms in the including Herakles, Dionysus, and Apollo, construction of the Sebasteion implies that although a few restored panels contain the Aphrodisians wished to demonstrate images that refer specifically to Rome or their desire to simulate Roman structures Aphrodite, such as a relief recreating the and sculpture. However, either because of scene of Romulus and Remus with the She- their limited accessibility to actual Roman wolf.13 The third story relief panels contain models or a desire to maintain a certain imperial narrative scenes of Augustus level of artistic freedom, builders and and the Julio-Claudian emperors with sculptors implemented Hellenistic and their family members, gods, or symbolic Aphrodisian art and architectural forms in personifications, juxtaposed next to panels their construction of the Grand Sanctuary- of mythological figures, such as Nike and Temple. Roma.14 Full sculptural reliefs, as well as a multitude Three imperial reliefs I have selected of fragments, have been recovered from to analyze for my research reflect the Sebasteion site, and the organization Aphrodisias’s perception of imperial rule, of these artworks within the temple has as well as Augustan and Julio-Claudian been recreated by scholars from New York propaganda, and the design of the reliefs University and Cambridge University, reveal the unique style of Aphrodisian specifically Kenan Erim and Christopher sculptors. Three important elements Ratté from the former, and R. R. R. Smith appear in each sculptural panel: the nudity from the latter, based on the excavated of the emperor, specific imperial portrait materials from the site. On the second and types, and a defined
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