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Römische Götterbilder Der Mittleren Und Späten Kaiserzeit

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Römische Götterbilder Der Mittleren Und Späten Kaiserzeit DIETRICH BOSCHUNG UND ALFRED SCHÄFER (HRSG.) RÖMISCHE GÖTTERBILDER DER MITTLEREN UND SPÄTEN KAISERZEIT MORPHOMATA Die Götterbilder der fortgeschrittenen römischen Kaiser zeit folgen einer traditionellen Bildsprache, die durch die vorbildhaften Statuen der griechischen Klassik geprägt ist. Gleichzeitig unterscheiden sie sich signifikant von früheren Epochen: Vorbilder werden variiert, Elemente verschiedener Bildwerke miteinander kombiniert und eigene Bild- und Erzählzusammenhänge neu geschaffen. Die Götterstatuen des 2. bis 4. Jahrhun- derts n. Chr. erhalten immer mehr Attribute und deko- rative Details; Statuenstützen und Plinthen werden mit beigeordneten Figuren bereichert; statuarische Gruppen setzen Handlungsabläufe in Szene. Die Beiträge dieses Bandes untersuchen, wie Götterbilder der mittleren und der späteren Kaiserzeit gewandelte religiöse Vorstellungen visualisieren und ihnen eine sinnlich erfahrbare Präsenz verleihen. Sie zeigen, wie sich damit ältere Auffassungen vom Wesen der Götter stabilisieren, gleichzeitig aber auch neue religiöse Auf- fassungen manifest und verstetigt werden. BOSCHUNG, SCHÄFER (HRSG.) – RÖMISCHE GÖTTERBILDER DER MITTLEREN UND SPÄTEN KAISERZEIT MORPHOMATA HERAUSGEGEBEN VON GÜNTER BLAMBERGER UND DIETRICH BOSCHUNG BAND 22 HERAUSGEGEBEN VON DIETRICH BOSCHUNG UND ALFRED SCHÄFER RÖMISCHE GÖTTERBILDER DER MITTLEREN UND SPÄTEN KAISERZEIT WILHELM FINK unter dem Förderkennzeichen 01UK0905 und von der Archäologischen Gesell­ schaft Köln. Die Verantwortung für den Inhalt der Veröffentlichung liegt bei den Autoren. Bibliografische Informationen der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National­ biblio grafie; detaillierte Daten sind im Internet über www.dnb.d­nb.de abrufbar. Alle Rechte, auch die des auszugweisen Nachdrucks, der fotomechanischen Wiedergabe und der Übersetzung vorbehalten. Dies betrifft auch die Verviel­ fältigung und Übertragung einzelner Textabschnitte, Zeichnungen oder Bilder durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transpa­ rente, Filme, Bänder, Platten und andere Medien, soweit es nicht § 53 und 54 UrhG ausdrücklich gestatten. © 2015 Wilhelm Fink, Paderborn Wilhelm Fink GmbH & Co. Verlags­KG, Jühenplatz 1, D­33098 Paderborn Internet: www.fink.de Lektorat: Semra Mägele Gestaltung und Satz: Kathrin Roussel, Sichtvermerk Printed in Germany Herstellung: Ferdinand Schöningh GmbH & Co. KG, Paderborn ISBN 978-3-7705-5727-1 INHALT Einleitung 7 FRIEDERIKE NAUMANN-STECKNER Skulpturen nach der Athena Parthenos in den Provinzen 13 STAVROS VLIZOS Das Vorbild des Zeus aus Olympia 41 ULRIKE EGELHAAF-GAISER Wenn Nereiden die Segel hissen …: Göttliche Reisegeleiter in Statius’ Silve 3,2 71 WOLFGANG SPICKERMANN Lukian und die (Götter)bilder 87 JOSÉ LUIS GARCÍA RAMÓN Götterbilder, religiöse Vorstellungen und Epitheta deorum 109 JAN N. BREMMER God Against the Gods. Early Christians and the Worship of Statues 139 KATHRIN SCHADE Göttlicher Schein und fabulierendes Beiwerk. Götterstatuen des 2. bis 4. Jahrhunderts n. Chr. 159 MARION EUSKIRCHEN Erotisierung weiblicher Götter in der mittleren Kaiserzeit 197 DIETRICH BOSCHUNG Mithras. Konzeption und Verbreitung eines neuen Götterbildes 217 DAGMAR GRASSINGER Apollo und Bacchus, die ‚Bild­schönen‘ Jünglinge 235 GABRIELLE KREMER Synkretistische Neukompositionen von Götterbildern im norisch­pannonischen Raum 259 ALFRED SCHÄFER Götterbilder in dionysischen Vereinen 287 MARTIN MAISCHBERGER, ORTWIN DALLY, ANDREAS SCHOLL Manipulierte Götter. Die Skulpturenausstattung der Faustinathermen in Milet 315 THOMAS FISCHER Götterbilder auf römischen Waffen 343 Verzeichnis der Autoren 370 EINLEITUNG Anlässlich der erfolgreichen Sonderausstellung des Römisch­Germani­ schen Museums Die Rückkehr der Götter – Berlins Antiken zu Gast in Köln fand vom 20. bis 22. Juni 2012 ein interdisziplinäres Kolloquium statt, das sich der Bedeutung römischer Götterstatuen im 2. und 3. Jahrhundert n. Chr. widmete. Im Fokus stand die neue erzählerische Dimension der „Götterbilder in der mittleren und späten Kaiserzeit als Ausdruck reli­ giö ser Vorstellungen“. Die Konzeption wurde vom Internationalen Kolleg Morphomata der Universität zu Köln und dem Römisch­Germanischen Museum gemeinsam entwickelt, worin die enge Zusammenarbeit zwi­ schen beiden Kölner Wissenschaftsinstitutionen zum Ausdruck kommt. Eröffnet wurde die Veranstaltung mit einem Festvortrag von Prof. Dr. Andreas Scholl, Direktor der Antikensammlung der Staatlichen Museen zu Berlin, der die Neupräsentation der Berliner Antikensammlung auf der Museumsinsel vorstellte. Der Teilnehmerkreis des internationalen Kolloquiums setzte sich aus namhaften Vertretern der Klassischen und Provinzialrömischen Archäologie, Alten Geschichte, Religions­ und Sprachwissenschaft zusammen. Der Dialog zwischen den beteiligten Disziplinen wurde strukturiert von einer eng umrissenen Fragestellung, so dass sich vier Themenfelder ergaben. I FRAGESTELLUNG Römische Götterbilder des 2. und 3. Jahrhunderts n. Chr. sind bisher fast ausschließlich im Hinblick auf ihre formale Abhängigkeit von älteren Vorlagen untersucht worden. Dabei blieb außer Betracht, dass sich so­ wohl ihre formale Gestaltung wie auch ihre Rezeptionsbedingungen von früheren Epochen signifikant unterscheiden. So verbanden die Bildhauer der mittleren und späten Kaiserzeit möglichst viele ihrer Bildkreationen in einem Werk. Götterstatuen erhielten immer mehr Attribute und de­ korative Details. Statuenstützen und Plinthen wurden mit beigeordneten 8 Figuren bereichert. Statuarische Gruppen setzten Handlungsabläufe in Szene. In der Forschung wurden diese neuen Strategien häufig als additive Verfahren beschrieben, ohne nach ihrer Bedeutung zu fragen. Die Götterstatuen des 2. bis 4. Jahrhunderts n. Chr. sind hingegen als eigene Bildkonstruktionen zu verstehen, die das Wesen und Wirken der Hauptfigur umfassend beschreiben. Dazu kommt seit dem 2. Jahrhundert n. Chr. eine gesteigerte Nachfrage nach rundplastischen Götterbildern, so dass eine regelrechte ‚Massenproduktion‘ von klein­ wie großforma­ tigen Statuen und Statuengruppen einsetzte. Kopiert wurden nicht nur griechische Skulpturen, sondern es entstanden auch neue Bildentwürfe. Griechische Vorbilder wurden variiert; Elemente verschiedener Bildwerke wurden miteinander kombiniert; eigene Bild­ und Erzählzusammenhänge wurden neu geschaffen. In Heiligtümern, Versammlungslokalen, Thermen, Häusern, Villen oder auf öffentlichen Plätzen wurden die Götterbilder häufig anderen Mo­ numenten gegenübergestellt, so dass man die Bildwerke miteinander ver­ gleichen konnte. Auf diese Weise entstand ein größerer Zusammenhang, den der zeitgenössische Betrachter mit seinem Wissen deutete. Gerade die kreative Bildgestaltung mythologischer Skulpturen in der mittleren und späten Kaiserzeit sollte im Zentrum des Kolloquiums stehen. Nicht die vermeintliche Aktionslosigkeit römischer Idealplastik, sondern die neue erzählerische Dimension der Bilderwelt galt es herauszustellen. Dabei sollte untersucht werden, in welcher Weise die Götterbilder re­ ligiöse Vorstellungen visualisieren und ihnen eine sinnlich erfahrbare Präsenz verleihen. In diesem Zusammenhang wurde gefragt, wieweit sie ältere Auffassungen vom Wesen der Götter stabilisieren beziehungsweise wie sie durch neue Gestaltungsprinzipien neue religiöse Auffassungen manifestieren und verstetigen. II THEMENFELDER Der erste thematische Schwerpunkt widmete sich dem Vorbild hochklas­ sischer Götterstatuen. Im Brennpunkt stand die Überlieferungsgeschichte der Athena Parthenos und des Zeus von Olympia, hoch gerühmte ko­ lossale Götterbilder des Phidias aus Goldelfenbein. Trotz ihrer heraus­ ragenden Wertschätzung in der Antike wurden diese Götterbilder in der römischen Kaiserzeit auf unterschiedliche Weise rezipiert. Das Standbild im Parthenon von Athen wurde in Form von Marmorstatuen deutlich kleineren Formats nachgebildet, so dass die ursprüngliche Ikonographie EINLEITUNG 9 nur zeichenhaft und in Auswahl wiedergegeben ist. Miniaturisierte Nach­ bildungen des thronenden Zeus von Olympia sind im Denkmälerbestand hingegen nicht erhalten. Am Beispiel einer marmornen Kopfreplik der Athena Parthenos im Römisch­Germanischen Museum in Köln stellt Friederike Naumann­Steckner die Bedeutung stadtrömischer Bildhau­ erwerkstätten für die Vermittlung des hochklassischen Vorbildes am Rheinlimes heraus. Marmorne Nachbildungen der Athena Parthenos eigneten sich besonders als Ausstattungsstücke reicher Stadthäuser, um Kunstkennerschaft und einen an stadtrömischen Formen geschulten Geschmack auch in der Provinz zu bezeugen. Einen anderen methodi­ schen Ansatz verfolgt Stavros Vlizos, indem er den Zeus von Olympia im geistesgeschichtlichen Kontext der so genannten zweiten Sophistik betrachtet. In der mittleren Kaiserzeit wurde der olympische Zeus des Phidias als Maß aller Götterdarstellungen verstanden. Das tradierte Wissen von der Göttlichkeit des Zeus in Olympia bedurfte anscheinend keinen verkleinerten figürlichen Nachbildungen, da die geistige Ausei­ nandersetzung mit dem originalen Götterbild gegenwärtig und lebendig blieb. Die persönliche Kenntnis vom berühmtesten Zeus­Bild der Antike eröffnete bei der Betrachtung anderer Statuen des höchsten Gottes eigene Assoziationsebenen, die um das Wesen des Göttlichen an sich kreisten. Der zweite thematische Schwerpunkt bündelt literarische und sprach­ liche Zeugnisse, die Aussagen zu Eigenheit und Innovationskraft von Götterbildern in der mittleren und späten Kaiserzeit erlauben. Im Vor­ dergrund stehen
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