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The Social Value of Funerary Art. Burial Practices and Tomb Owners in The

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The Social Value of Funerary Art. Burial Practices and Tomb Owners in The Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen Der Stifter und sein Monument Gesellschaft – Ikonographie – Chronologie 14. bis 20. Juni 2017 Graz / Austria Barbara Porod – Peter Scherrer (Hrsg.) Schild von Steier Beiheft 9 Veröffentlichungen des Instituts für Archäologie der Karl-Franzens- Universität Graz [VdIGraz] 16 Herausgeber Universalmuseum Joanneum GmbH Archäologie & Münzkabinett Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen Der Stifter und sein Monument Gesellschaft – Ikonographie – Chronologie 14. bis 20. Juni 2017 Graz / Austria Barbara Porod – Peter Scherrer (Hrsg.) ISBN 978-3-903179-13-4 ISSN 2078–0141 Redaktion Barbara Porod Lektorat Barbara Porod, Karl Peitler, Erwin Pochmarski Y'Plus Rechbauerstraße 17/1, 8010 Graz Grafische Konzeption Lichtwitz – Büro für visuelle Kommunikation Satz Beatrix Schliber–Knechtl Druck Dravski tisk d.o.o. Für den Inhalt der Beiträge sind die Autorinnen und Autoren verantwortlich. Graz 2019 Inhalt 6 Vorwort 128 Piotr DYCZEK New Imperial Sculpture from 8 Bojan DJURIĆ Ancient Rhizon/Risinium – The Logistics behind Ancient Art Montenegro The Case of Noricum and Pannoniae 138 Audrey FERLUT 40 Mela ALBANA Les piliers à quatre divinités Il medico in età imperiale fra autorap- Un culte militaire des provinces de presentazione e realtà sociale Gaule Belgique et des Germanies 52 Cristina-Georgeta ALEXANDRESCU 152 Vassiliki GAGGADIS-ROBIN Denkmäler des Iupiter Dolichenus- Urnes funéraires et sarcophages Kultes aus der nördlichen Moesia romains à deux places Inferior 164 Nadežda GAVRILOVIĆ VITAS 66 Iva CIGLAR – Jernej UMEK – People behind the Faces: Jasna VINDER Iconography and its Meaning on The Marble Part of an Aedicula from Funerary Monuments in the Wes- the Velenik Hill near Slovenska tern Parts of the Central Balkans’ Bistrica (Slovenia) Roman Provinces 74 Lara CLEMENTE 182 Maria Elena GORRINI – I mausolei del suburbio di Napoli tra Mirella T. A. ROBINO ricerche storiche e nuovi dati archeo- The Rediscovery of a Sarcophagus logici Lid from Ticinum (Regio XI) 86 Maria-Pia DARBLADE-AUDOIN 192 Jasna JELIČIĆ RADONIĆ – A new Marble Portrait from Lyon: Ana TORLAK Lucius Aelius Caesar Sculptures of the Imperial Cult in Salona 94 Nicolas DELFERRIÈRE – Anne-Laure EDME 198 Stephan KARL – Jörg FÜRNHOLZER Polychromie et monuments funéraires Das römerzeitliche Marmorstein- L’exemple de la Gaule de l’Est bruchrevier Spitzelofen in Kärnten – Ergebnisse einer archäologisch- 112 Zdravko DIMITROV topografischen Untersuchung Colonia Ulpia Traiana Ratiaria – Data from Sarcophagi Owners, Tomb Com- plexes, Decoration 4 210 Stylianos E. KATAKIS 348 Mathieu RIBOLET Bemerkungen zur spätantiken À la mémoire des élites? La Skulptur aus Aptera und West-Kreta restitution des grands monuments Alte und neue Funde funéraires d’Agedincum (Sens, France) 224 Philip KIERNAN Staging and Experiencing the Gods 366 Isabel RODÀ DE LLANZA – in Romano-Celtic Temples Magí MIRET-MESTRE Un grand masque à l’ager 236 Anja KLÖCKNER – Michaela STARK Tarraconensis (Hispanie citérieure) Der Stifter und sein Schmuck Männer mit Fingerringen auf 374 Claudina ROMERO MAYORGA Grabdenkmälern der Nordwest- und Gaius Accius Hedychrus − Donauprovinzen An Approach to the Role of Religion in the Provincial Society 250 Johannes LIPPS of Lusitania Ein monumentaler Tempel im römischen Ladenburg? 382 Mirjana SANADER – Mirna VUKOV Einige Überlegungen zum Kult der 262 Carlos MÁRQUEZ liburnischen Gottheit Latra The Seated Statue of Divus Augustus Pater Found in the 392 Katarina ŠMID Province of Baetica The Orpheus Monument in Ptuj Some New Observations 274 Branka MIGOTTI The Interdependence of the Epitaph 404 Cristina SORACI and Portraiture in Interpreting Donne, pane e annona nel mondo Inscribed Funerary Monuments romano 284 Sorin NEMETI – Irina NEMETI 414 Marianne TABACZEK Votive Practices and Self-Represen- Ein Relief mit Reiterkampf aus tation in Potaissa (Dacia) Neumagen 298 Aleksandra NIKOLOSKA – 424 Johanna TRABERT Slavica BABAMOVA Ehrenbasen und Ehreninschriften A Group of Funeral Stelae from the aus Aesernia Region of Veles, Macedonia 444 Stefan TRAXLER – Felix LANG – 306 David OJEDA Manfred HAINZMANN Tre statue loricate provenienti dal Hercules im Kalkbrennofen teatro di Tarragona Ein bemerkenswertes Ensemble von I supporti delle sculture romane Steindenkmälern aus Lauriacum/ (Stützen) come metodo di datazione Enns 314 Simona PERNA 454 Jurica TRIPLAT The Social Value of Funerary Art Evidence for Roman Intelligence Burial Practices and Tomb Owners Services along the Eastern Adriatic in the Provinces of the Roman Coast Empire 466 Mojca VOMER GOJKOVIČ 328 Erwin POCHMARSKI – In their Honour and Memory Ingrid WEBER-HIDEN Grabaltäre im nördlichen Noricum – 470 Adressen der Autorinnen und Die Denkmäler und ihre Stifter Autoren Ikonographische Auswertung der Grabaltäre im nördlichen Noricum 5 The Social Value of Funerary Art Burial Practices and Tomb Owners in the Provinces of the Roman Empire Simona PERNA Introduction communities through the display of exclusive funerary items. This article first summarises the general charac- The historical period that followed the triumph of terisitics of the urn type – the “tureen”1 – that emerges Octavian Augustus witnessed major socio-political as predominant in both urban and provincial tombs changes across the Roman empire. As a result, many with a particular focus on its manufacture technique individuals, especially the most prominent members of and geographic spread. Then, I review the contextual the single communities, began to seek distinct means information, especially modes of deposition and grave to advocate their social prestige and power. This was goods, as well as textual evidence on the tomb owners achieved especially in the funerary sphere through from selected case studies amongst the better pre- the adoption of articulated funerary rites and items served provincial contexts, in particular in France and that aimed at emphasizing the social standing of the Libya. I hope to use these case studies to show the deceased. Among the exhibited burial apparatus we social value of these funerary objects which represen- find cinerary urns carved out from coloured stone. A ted the artistic and material response to specific socio- vase-shape, skillful workmanship and the precious political and ritual dynamics within changing societies materials – such as Egyptian alabaster and purple por- across the Roman empire. phyry – set these urns aside from most of Roman urban and provincial funerary sculpture. The small number of The tureen urns: aspects of iconography, materials extant examples suggests that these urns were rarer and carving procedure than others, while the funerary contexts where they were found point to high status tomb owners. The use The tureen urns constitute only a portion, albeit of such urns is recorded in élite tombs in Rome and predominant with 64 out of 117 examples, of a group Italy from the early Augustan period. What is more, as of funerary vases in exotic stone that came into use early as the Claudian period, these containers began to in Roman burials from the Caesarian period. Given the appear in funerary contexts belonging to wealthy local typological variety of the remainder of these urns in benefactors of some important provinces (Southern respect to the tureens, they have been labelled non- France, Southern England, Libya, Dalmatia). tureens.2 Not only is the tureen the prevailing type, The dynamics of consumption and geographic distribu- but it also emerges as a purposely created funerary tion of this form of Roman funerary art, particularly in container in respect to most non-tureens, which often provincial contexts, provide the subject matter for this consist of recycled, more ancient existing vases. The paper. I focus on the people behind the urns, in particu- tureen urns are characterised by a series of recurrent lar provincial élite, urban magistrates and villa owners, idiosyncratic features: a deep hemispheric body resting through a contextual survey of the burial evidence to on a convex foot, a domed lid culminating in a high reconstruct the social and ritual pattern of use of these piriform finial and one set of ring handles projecting objects. These urns, I argue, embodied the aspirations from the body and presenting leaf-shaped attachments of prominent provincial individuals who wished to [fig. 1]. Despite this apparent stylistic homogeneity, address their social and cultural identity within local the tureen occurs in three distinct subtypes due to 314 the changing profile of the body and its proportions: those of rebirth and purity, and these appear to have A (height>width), B (height=width), C (height<width) been transferred onto artefacts made from it, first with A possibly being the earliest beginning in the and foremost vases. The use and re-use, particularly early Augustan period. This datum is important since in religious contexts, of objects made from alabaster subtype B emerges as the most standardised and it must be understood in these terms. The Romans knew occurs over a greater geographic spectrum from the its chemical properties such as that of preserving Julio-Claudian period. Other variations to the basic liquids uncorrupted and this may have encouraged its model concern the lid, foot or finial profile and the choice for a container whose main requirement was to fig. 1 handles attachments. These variations, distinguishable preserve mortal remains for the eternity. In addition to Drawing of
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