Katarina Smid | University of Primorska (original) (raw)
Papers by Katarina Smid
ZEIT(EN) DES UMBRUCHS, 2024
Maria-Pia Darblade-Audoin Les hermès de Welschbillig. Style et technique au IV e siècle dans le N... more Maria-Pia Darblade-Audoin Les hermès de Welschbillig. Style et technique au IV e siècle dans le Nord des Gaules ....
Keria: Studia Latina et Graeca, 2023
The article discusses the depictions of children and focuses primarily on the relation between th... more The article discusses the depictions of children and focuses primarily on the relation between the age of the carved portrait and the age that is given on the epitaph. The study focuses on a group of steles ascribed to the same Celeian workshop. The steles from the Danubian provinces often reveal the usual anomalies, that is, the descendants are frequently
represented as small children despite their age. This may be attributed either to the use of a pre-carved scheme or to the parents’ wish to stress the relation parents – child. The group of the steles discussed includes only one daughter depicted as grown-up, in all probability due to the fact that it was she who commissioned the monument. The boy with the Horus lock on another stele, as well as the garments of the children, which match those of the mother or father, indicate that all steles of that workshop were individually custom-sculpted.
Arheološki vestnik, 2023
This contribution discusses two relief depictions, which follow the works of the Greek master Lys... more This contribution discusses two relief depictions, which follow the works of the Greek master Lysippus. One of the partially preserved reliefs, depicting a youth in motion, characterised by the lock of hair on the front has been in the hitherto literature differently interpreted; Josip Korošec explained it as Kairos. The depictions of that deity share the lock of hair above the front, nakedness, posture, and scales, attached to the cords of the scales, which could also be held by the Poetovian youth. Regarding the other stone relief, the direction of the movement is quite unusual and can be taken after gem depictions, which could (also due to some alterations in arm posture and lower quality) serve as the direct source. In the lateral side of the ara (either votive or funerary) Hercules, who follows the type of Weary Hercules, ascribed to Lysippus is depicted. The latter is (in contrast to the rarely imitated Kairos) one of the most widespread types in the
Imperial era. The depictions of opera nobilia in Poetovian relief sculpture doubtless attest to the fact that the cultivated inhabitants were aware of and commissioned representations of the well-known works of Greek statuary.
Zbornik za umetnostno zgodovino Archives d'histoire de l'art, 2023
This paper discusses the scene of Heracles and Alcestis in Vindonius’ tomb in the Roman necropoli... more This paper discusses the scene of Heracles and Alcestis in Vindonius’ tomb in the Roman necropolis of Šempeter in the Savinja Valley. Although the motif is relatively well spread in the Roman era and appears relatively often in the Danubian provinces, the scene in Šempeter stands out especially in the effigy of Heracles and the setting with the outcropping
rock, which supports the club. While Alcestis resembles Alcestis on the wall painting in Tyros, Heracles’ emphasized adolescence, contrapposto pose, and bowed head draw attention to Polyclitan characteristics, whereas the hero matches at its best Heracles in the Atticizing three-figure relief in Villa Torlonia. Nevertheless, also the rocky setting
with the outcropping rock, on which the club lies, points to the Greek roots. That detail is present on to Lysippus attributed Weary Heracles and also in the relief plate no. 12 of the Telephos’ Friese from the Great Altar.
ACTA HISTORIAE ARTIS SLOVENICA, 2022
In Roman art – according to the surviving depictions – the most popular episode from Medea’s turb... more In Roman art – according to the surviving depictions – the most popular episode from Medea’s turbulent life was the one in which she already holds the sword but hesitates a moment before killing her own children. The most famous artwork bearing this image was the (lost) painting by Timomachos of Byzantium, though the popularity of the scene in visual arts is also shown by numerous depictions in wall paintings, glyptics, sarcophagi or free-standing statues. The latter have been preserved in the highest number in the province of Pannonia. The statues from Poetovio and Aquincum in particular resemble the painting from Herculaneum, which is regarded as the most faithful reproduction of Timomachos’ painting, in terms of Medea’s posture as well as her attributes and garments. Oil-lamps with an identically designed figure of Medea indicate the possibility of a motif-transfer via small, easily transportable objects.
Umetnost Ptuja in ptujski umetniki, 2020
Although Ptuj was an important town during the Early Christian period, there is not much art-hist... more Although Ptuj was an important town during the Early Christian
period, there is not much art-historical evidence to represent this,
in contrast to finds from the Roman era and late Middle Ages. Many
monuments are difficult to categorize unambiguously as pagan or
Christian, due to Early Christian art taking over many scenes and
decorative elements from Roman art and reinterpreting them into
Christian content by the means of interpretatio Christiana. One such
tableau is the depiction of a feast (convivium).
The sarcophagus bearing this scene (Ptuj-Ormož Regional
Museum, inv. no. RL 447), was not found in its place of origin but
rather at a secondary spot built into the church of St. Martin in
Hajdina. In the hitherto literature, it has so far been interpreted as
a scene from vita privata (private life) illustrating a representative
feast of the Roman upper class. The present article brings out the
fact that it could be a de facto depiction of a Christian feast as is
so often represented on sarcophagi and catacomb paintings. It is
almost impossible to determine whether the feast represented is
of pagan or Christian origin, especially on sarcophagi that are void
of archaeological context, epigraphic indications or accompanying
scenes. The Ptuj scene shows many similarities with the wall paintings
in the catacombs of Sts. Peter and Marcellinus in Rome, as almost all
of the figures (two women sitting along a table, two reclining men
and children next to them, servants), and other details (wicker flasks
for wine and water, bread and food on a platter), can be found there.
Moreover, the scene is set under a vine rich in grapes, which is one
of the most characteristic symbols of Christianity. Nevertheless, it is
important to draw attention to the male on the extreme right turning
away from the scene, who does not appear on any other depictions
of convivia. His posture resembles Old Testament patriarchs making
offerings to the Lord (e.g. Abel, Melchizedek).
Mikro in makro: pristopi in prispevki k humanističnim vedam ob dvajsetletnici UP FHŠ, 2020
The article discusses the grave stele of one Iulia Iucunda, found in Črnomelj in the province of ... more The article discusses the grave stele of one Iulia Iucunda, found in Črnomelj in the province of Pannonia (National Museum of Slovenia, inv. no. L 119). The busts of the couple are carved within the main field, whereas the relief frieze bearing the scene of the funerary banquet (cena funebris, German Totenmahl) follows below. It is represented in differentia specifica for that province, as the reclining deceased is absent. The unexpected figure for the funerary banquet is the naked figure at the far left, stepping towards mensa tripes. Considering its posture, it resembles the satyrs (type Askophoros A) or the personifications of the Seasons as the youth. In their left, the figure carries a pedum, with a basket or a bundle (?) hanging down from its bent end. In their other hand, a hardly distinguishable curved object is visible: a sickle or a pruning knife (?). However, the pedum is the standard attribute for both mythological entities, while the sickle is common for the personification of Summer, and the pruning knife for both, satyrs, and Autumn. As both mythological beings share the posture as well as several attributes and the carved figure is mal preserved, it is almost impossible to claim which one of them is shown.However, none of them is represented in the funerary sculpture neither in Neviodunum nor in Siscia, although both are quite popular in the adjacent province of Noricum, in which the comparable figures are dated after the first quarter of the 3rd century. One of the open issues is the dating of the stele, as in the hitherto literature it spans from the late 1st till the beginning of the 3rd century. As the coiffure of the spouse resembles the Severan hair dresses, perhaps mostly the one of Iulia Maesa, and her husband wears a sagum, which was worn by both, military and civilians, especially after the rule of emperor Caracalla, the dating to the first third of the 3rd century seems more plausible.
ACTA HISTORIAE ARTIS SLOVENICA, 2019
The article discusses the central motif of Orpheus among the animals on the Orpheus monument in P... more The article discusses the central motif of Orpheus among the animals on the Orpheus monument in Ptuj (Roman Poetovio) and its analogies with the imago that supposedly hung in a private gallery in Neapolis and was precisely described by Philostratus the Younger in his Εἰκόνες. Philostratus’ ekphrasis should (regarding the classification of the motif by Henri Stern) match the relatively rarely represented group II b and Orpheus should belong to the type of the so-called Phrygian Orpheus. According to Stern, an archetype for the whole group would be the panel painting, described by Philostratus the Younger or perhaps the more ancient one that influenced his ekphrasis. The best comparisons so far were pointed out to be the mosaics from Blanzy-lès-Fismes, from the unknown site in northern Syria, and Shahba. Interestingly, some of the animals (lion, boar, wolf, sheep, birds) and other details (branches with the sitting birds above the scene), especially mentioned in Philostratus’ description, are also present in the Orpheus stele in Poetovio. Nevertheless, his posture also corresponds completely to almost all of the representatives of group II b, as well as to the Philostratus’ ekphrasis.
Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen. Der Stifter und sein Monument. Gesellschaft – Ikonographie – Chronologie, 14. bis 20. Juni 2017 Graz / Austria (Schild von Steier. Beiheft 9), 2019
Ikonographische Bemerkungen zu einem Kalksteinrelief aus Pannonia Inferior Im Lapidarium von Aqui... more Ikonographische Bemerkungen zu einem Kalksteinrelief aus Pannonia Inferior Im Lapidarium von Aquincum (Budapest, Aquincumi Múzeum, Inv. Nr. 66.11.12) ist ein Kalksteinrelief mit einer merkwürdigen Darstellung von Priamos vor Achill verwahrt (Abb. 1). 1 Das Relief, das ursprünglich ein Grabbauteil war, wurde im Gräberfeld der Zivilstadt am Donauufer gefunden, wo es sekundär im Grab verwendet wurde. 2 Der greise König ist auf das rechte Knie gesunken. Er trägt ein langärmeliges orientalisches Gewand und die phrygische Mütze. Sein Mantel schwingt im weiten Bogen hinter seinem Rücken. In der ausgestreckten Rechten bietet er Achill eine Kette oder vielleicht ein Halsband dar. Der junge griechische Held sitzt rechts, auf Hektors leblosem Körper. Er ist halbbekleidet, seine Brust ist enblößt. Die rechte Hand streckt er vor, um ein Lösungsgeschenk zu erhalten. Hinter Achill gibt es einen Sockel, worauf eine behelmte männliche Büste aufgestellt ist. Den Raum hinter Priamos füllt eine Frau, die aufgrund seines wehenden Mantels nur von der Brust aufwärts sichtbar ist. Ihr Kopf ist verdeckt und ihre Hände sind zusammengelegt. Der linke Reliefrand ist nicht erhalten und im Hintergrund, dicht hinter der Frau, sind noch die Gewandfalten einer Gestalt erkennbar. 3 Besonderes Augenmerk verdienen die Einzelfiguren. Sitzend und halb bekleidet, mit entblößter Brust und ausgestrecktem Arm, spiegelt Achill zahlreiche kaiserzeitliche Darstellungen wider. 4 Das gleiche Schema wird auf stadtrö-
Katarina Šmid »Po kopnem in morju pot je zaprta – nebo je odprto…«: * Ikarjev lik na nagrobnih sp... more Katarina Šmid »Po kopnem in morju pot je zaprta – nebo je odprto…«: * Ikarjev lik na nagrobnih spomenikih Norika in Panonije V nekdanjih rimskih provincah Noriku in Panoniji, ki sta segali tudi na oze-mlje današnje Republike Slovenije, so bile, sodeč po doslej odkritih primerih, kiparske upodobitve Ikarja številčno presenetljivo dobro zastopane. Motiv nesrečnega letalca, v antičnih likovnih upodobitvah sicer dobro dokumen-tiran v keramiki, gliptiki, relieh in predvsem v slikarstvu, je bil v kamniti plastiki le redko zastopan. Večkrat je bil upodobljen v bronu v grškem oziro-ma vzhodnem svetu (zlasti na Kreti in v Smirni). Kot je med prvimi ugoto-vil že Arnold Schober, je najštevilčneje zastopan ravno v Noriku in Panoni-ji, med katerima močno prednjači Panonija (zlasti Poetovio, Savaria, Aquin-cum), kljub temu da je bilo največ, do sedaj osem kiparskih upodobitev Ikar-ja najdenih na ozemlju noriškega mesta Flavia Solva. Poleg primerov iz Fla-vije Solve iz noriških mest prihajata le še dve najdbi, obe z območja Celeje. S področij zunaj obeh omenjenih provinc je večje število primerov izpričanih še v Regio X Venetia et Histria. Na obravnavanem geografskem področju se je motiv pojavljal tako v reliefni kot v obli plastiki. Podobe so bile omejene na skupino z Dedalom oziroma Parko, ki mu pritrjuje krila, ter na celopostav-ni ali doprsni tip Ikarja z razprtimi rokami in s krili tik pred vzletom oziro-* Ov., Met. .–. Prevod Kajetan Gantar. Ghedini, »Tradizione ellenistica nella scultura aquileiese«, .
The four-figural scene on the left lateral side of a marble aedicula tomb of the family of Caius ... more The four-figural scene on the left lateral side of a marble aedicula tomb of the family of Caius Spectatius Priscianus in Šempeter in the Valley of Savinja has been since its discovery diversely interpreted.
At first, Josip Klemenc unconvincingly explained it as the abduction of a woman, probably Helen (pair in the middle; the other two figures represent the abductor's helpers).
Klemenc's interpretation was justifiable refused by Erna Diez, who has all four figures correctly designated as the male figures and therefore explained the motif as the scenes from sport contests: in the centre is wrestling in palestra (πάλη), watched by an ephebe on the left, who is an additional athlet (ἔφεδρος) and is enthusiastically waiting for his turn. His right arm is lifted and the fingers are clenched together in the form of άπαγορεύει, a gesture, which marks a defeat of one of the contestants and consequently marks the entrance of the next competitor. The remaining ephebe, does not belong to the combat in palestra, but to the other agon – to λαμπαδηφομία and the athlet would therefore be a torchbearer (λαμπαδηδρόμος). Although the relief is a bit abraded, Diez claimed, that his head is adorned with the headdress in the form of a »radiant crown«, which was worn by λαμπαδηδρόμοι as it is seen in the vase paintings from 5th to the beginnings of the 4th century B.C.
However, in her seminal article from 1993 Margaretha Bonanno Aravantinos drew attention to the fragmentary Attic sarcophagus from Thespiae with the story of Orestes, Iphigeneia and Pylades among the Taurians (Archaeological Museum of Thebes, inv. nos. 101A, 101B, 101Δ, 101E, 101ΣΤ, 101T, 103–105, 108, 109Δ, 109E, 109E¹, 112A). Per analogiam she has interpreted all the narrative reliefs in the tomb of Spectatii as the scenes from Iphigeneia among the Taurians. The combat of Orestes or Pylades against the Taurian would be in the middle of the discussed relief , whereas the ephebe on the right bears resemblance to the figure on the relief of Iphigenia's escape in Dravinjski Vrh, as well as to some other Pannonian depictions of that motif (Magyar Nemzeti Múzeum, inv. no. 62.84.1-2, 62.85.1–2; Tác, Gorsium Szabadtéri Múzeum Régészeti Park) and on two Roman sarcophagi (Weimar, Schlossmuseum, inv. no. G 1744; (Windsor, Windsor Castle, inv. no. 8712, dal Pozzo VIII fol. 11). For the figure on the left corner Bonanno Aravatninos did not find a parallel; in my opinion the ephebe is taken after Meleager on the subgroup of Meleager-sarcophagi from the third quarter of the 2nd century A.D.
Im Regionalmuseum Celje (Cilli) in Slowenien befindet sich eine stark beschädigte Grabstele mit d... more Im Regionalmuseum Celje (Cilli) in Slowenien befindet sich eine stark beschädigte Grabstele mit der Darstellung einer Kampfszene, welche die sogenannte "Pasquino-Gruppe" nachahmt. Tatsächlich könnte die Komposition der Figuren eine Interpretation der Figuren Ajax mit dem Leichnam Achilles zeigen. Diese wurde zweifellos an einigen römischen Steindenkmälern verwendet, aber erschien nur selten an Grabmonumenten. Nach meinem Wissen ist die Grabstele in Celje die einzige Grabstele mit dieser Darstellung. Aufgrund des Erhaltungszustandes ist die Entstehungszeit schwierig zu bestimmen. Anhand ikonographischer Analysen und der Stelentypologie wird die Datierung um 150-200 n. Chr. vorgeschlagen.
This article discusses the fragmentary relief on the funerary aedicula of Spectatii at the Roman ... more This article discusses the fragmentary relief on the funerary aedicula of Spectatii at the Roman necropolis
at Šempeter in the Valley of Savinja. It is the only narrative relief of this location, whose interpretation
is still puzzling.The dating of this impressive marble tomb oscillates between the later Antonine and the
early Severan period, while the apparent terminus post quem non for it is provided by the enactment of
the Constitutio Antoniniana in 212 A.D. In scholarly literature to date, the intriguing relief was mostly
– without any argumentation – put aside with the combat of Orestes and Pylades against the Taurians.
The aim of the paper is to elucidate some probable interpretations as indicated per analogiam with
the depictions carved on marble Orestes-sarcophagi which are produced in two main cultural hubs, i.e.
Rome and Athens, or, on balance, regarding the accounts recorded in primary classical sources (albeit
not always documented in visual arts). The following scenes are taken into consideration: Pylades saving
Orestes, the combat of Orestes or Pylades against the Taurians in front of an Artemis’ shrine, the murder
of Aigisthos and Clytaimestra in Argos or the death of Thoas on the island of Sminthe. Nevertheless,
it is quite possible that the figures – or in all probability only the lying one – hark back to the other
pictorial source and do not derivate from the well-established Orestes-cycle. On the whole, the final
answer remains – due to the extremely poor preservation – difficult or even impossible to state.
ZEIT(EN) DES UMBRUCHS, 2024
Maria-Pia Darblade-Audoin Les hermès de Welschbillig. Style et technique au IV e siècle dans le N... more Maria-Pia Darblade-Audoin Les hermès de Welschbillig. Style et technique au IV e siècle dans le Nord des Gaules ....
Keria: Studia Latina et Graeca, 2023
The article discusses the depictions of children and focuses primarily on the relation between th... more The article discusses the depictions of children and focuses primarily on the relation between the age of the carved portrait and the age that is given on the epitaph. The study focuses on a group of steles ascribed to the same Celeian workshop. The steles from the Danubian provinces often reveal the usual anomalies, that is, the descendants are frequently
represented as small children despite their age. This may be attributed either to the use of a pre-carved scheme or to the parents’ wish to stress the relation parents – child. The group of the steles discussed includes only one daughter depicted as grown-up, in all probability due to the fact that it was she who commissioned the monument. The boy with the Horus lock on another stele, as well as the garments of the children, which match those of the mother or father, indicate that all steles of that workshop were individually custom-sculpted.
Arheološki vestnik, 2023
This contribution discusses two relief depictions, which follow the works of the Greek master Lys... more This contribution discusses two relief depictions, which follow the works of the Greek master Lysippus. One of the partially preserved reliefs, depicting a youth in motion, characterised by the lock of hair on the front has been in the hitherto literature differently interpreted; Josip Korošec explained it as Kairos. The depictions of that deity share the lock of hair above the front, nakedness, posture, and scales, attached to the cords of the scales, which could also be held by the Poetovian youth. Regarding the other stone relief, the direction of the movement is quite unusual and can be taken after gem depictions, which could (also due to some alterations in arm posture and lower quality) serve as the direct source. In the lateral side of the ara (either votive or funerary) Hercules, who follows the type of Weary Hercules, ascribed to Lysippus is depicted. The latter is (in contrast to the rarely imitated Kairos) one of the most widespread types in the
Imperial era. The depictions of opera nobilia in Poetovian relief sculpture doubtless attest to the fact that the cultivated inhabitants were aware of and commissioned representations of the well-known works of Greek statuary.
Zbornik za umetnostno zgodovino Archives d'histoire de l'art, 2023
This paper discusses the scene of Heracles and Alcestis in Vindonius’ tomb in the Roman necropoli... more This paper discusses the scene of Heracles and Alcestis in Vindonius’ tomb in the Roman necropolis of Šempeter in the Savinja Valley. Although the motif is relatively well spread in the Roman era and appears relatively often in the Danubian provinces, the scene in Šempeter stands out especially in the effigy of Heracles and the setting with the outcropping
rock, which supports the club. While Alcestis resembles Alcestis on the wall painting in Tyros, Heracles’ emphasized adolescence, contrapposto pose, and bowed head draw attention to Polyclitan characteristics, whereas the hero matches at its best Heracles in the Atticizing three-figure relief in Villa Torlonia. Nevertheless, also the rocky setting
with the outcropping rock, on which the club lies, points to the Greek roots. That detail is present on to Lysippus attributed Weary Heracles and also in the relief plate no. 12 of the Telephos’ Friese from the Great Altar.
ACTA HISTORIAE ARTIS SLOVENICA, 2022
In Roman art – according to the surviving depictions – the most popular episode from Medea’s turb... more In Roman art – according to the surviving depictions – the most popular episode from Medea’s turbulent life was the one in which she already holds the sword but hesitates a moment before killing her own children. The most famous artwork bearing this image was the (lost) painting by Timomachos of Byzantium, though the popularity of the scene in visual arts is also shown by numerous depictions in wall paintings, glyptics, sarcophagi or free-standing statues. The latter have been preserved in the highest number in the province of Pannonia. The statues from Poetovio and Aquincum in particular resemble the painting from Herculaneum, which is regarded as the most faithful reproduction of Timomachos’ painting, in terms of Medea’s posture as well as her attributes and garments. Oil-lamps with an identically designed figure of Medea indicate the possibility of a motif-transfer via small, easily transportable objects.
Umetnost Ptuja in ptujski umetniki, 2020
Although Ptuj was an important town during the Early Christian period, there is not much art-hist... more Although Ptuj was an important town during the Early Christian
period, there is not much art-historical evidence to represent this,
in contrast to finds from the Roman era and late Middle Ages. Many
monuments are difficult to categorize unambiguously as pagan or
Christian, due to Early Christian art taking over many scenes and
decorative elements from Roman art and reinterpreting them into
Christian content by the means of interpretatio Christiana. One such
tableau is the depiction of a feast (convivium).
The sarcophagus bearing this scene (Ptuj-Ormož Regional
Museum, inv. no. RL 447), was not found in its place of origin but
rather at a secondary spot built into the church of St. Martin in
Hajdina. In the hitherto literature, it has so far been interpreted as
a scene from vita privata (private life) illustrating a representative
feast of the Roman upper class. The present article brings out the
fact that it could be a de facto depiction of a Christian feast as is
so often represented on sarcophagi and catacomb paintings. It is
almost impossible to determine whether the feast represented is
of pagan or Christian origin, especially on sarcophagi that are void
of archaeological context, epigraphic indications or accompanying
scenes. The Ptuj scene shows many similarities with the wall paintings
in the catacombs of Sts. Peter and Marcellinus in Rome, as almost all
of the figures (two women sitting along a table, two reclining men
and children next to them, servants), and other details (wicker flasks
for wine and water, bread and food on a platter), can be found there.
Moreover, the scene is set under a vine rich in grapes, which is one
of the most characteristic symbols of Christianity. Nevertheless, it is
important to draw attention to the male on the extreme right turning
away from the scene, who does not appear on any other depictions
of convivia. His posture resembles Old Testament patriarchs making
offerings to the Lord (e.g. Abel, Melchizedek).
Mikro in makro: pristopi in prispevki k humanističnim vedam ob dvajsetletnici UP FHŠ, 2020
The article discusses the grave stele of one Iulia Iucunda, found in Črnomelj in the province of ... more The article discusses the grave stele of one Iulia Iucunda, found in Črnomelj in the province of Pannonia (National Museum of Slovenia, inv. no. L 119). The busts of the couple are carved within the main field, whereas the relief frieze bearing the scene of the funerary banquet (cena funebris, German Totenmahl) follows below. It is represented in differentia specifica for that province, as the reclining deceased is absent. The unexpected figure for the funerary banquet is the naked figure at the far left, stepping towards mensa tripes. Considering its posture, it resembles the satyrs (type Askophoros A) or the personifications of the Seasons as the youth. In their left, the figure carries a pedum, with a basket or a bundle (?) hanging down from its bent end. In their other hand, a hardly distinguishable curved object is visible: a sickle or a pruning knife (?). However, the pedum is the standard attribute for both mythological entities, while the sickle is common for the personification of Summer, and the pruning knife for both, satyrs, and Autumn. As both mythological beings share the posture as well as several attributes and the carved figure is mal preserved, it is almost impossible to claim which one of them is shown.However, none of them is represented in the funerary sculpture neither in Neviodunum nor in Siscia, although both are quite popular in the adjacent province of Noricum, in which the comparable figures are dated after the first quarter of the 3rd century. One of the open issues is the dating of the stele, as in the hitherto literature it spans from the late 1st till the beginning of the 3rd century. As the coiffure of the spouse resembles the Severan hair dresses, perhaps mostly the one of Iulia Maesa, and her husband wears a sagum, which was worn by both, military and civilians, especially after the rule of emperor Caracalla, the dating to the first third of the 3rd century seems more plausible.
ACTA HISTORIAE ARTIS SLOVENICA, 2019
The article discusses the central motif of Orpheus among the animals on the Orpheus monument in P... more The article discusses the central motif of Orpheus among the animals on the Orpheus monument in Ptuj (Roman Poetovio) and its analogies with the imago that supposedly hung in a private gallery in Neapolis and was precisely described by Philostratus the Younger in his Εἰκόνες. Philostratus’ ekphrasis should (regarding the classification of the motif by Henri Stern) match the relatively rarely represented group II b and Orpheus should belong to the type of the so-called Phrygian Orpheus. According to Stern, an archetype for the whole group would be the panel painting, described by Philostratus the Younger or perhaps the more ancient one that influenced his ekphrasis. The best comparisons so far were pointed out to be the mosaics from Blanzy-lès-Fismes, from the unknown site in northern Syria, and Shahba. Interestingly, some of the animals (lion, boar, wolf, sheep, birds) and other details (branches with the sitting birds above the scene), especially mentioned in Philostratus’ description, are also present in the Orpheus stele in Poetovio. Nevertheless, his posture also corresponds completely to almost all of the representatives of group II b, as well as to the Philostratus’ ekphrasis.
Akten des 15. Internationalen Kolloquiums zum Provinzialrömischen Kunstschaffen. Der Stifter und sein Monument. Gesellschaft – Ikonographie – Chronologie, 14. bis 20. Juni 2017 Graz / Austria (Schild von Steier. Beiheft 9), 2019
Ikonographische Bemerkungen zu einem Kalksteinrelief aus Pannonia Inferior Im Lapidarium von Aqui... more Ikonographische Bemerkungen zu einem Kalksteinrelief aus Pannonia Inferior Im Lapidarium von Aquincum (Budapest, Aquincumi Múzeum, Inv. Nr. 66.11.12) ist ein Kalksteinrelief mit einer merkwürdigen Darstellung von Priamos vor Achill verwahrt (Abb. 1). 1 Das Relief, das ursprünglich ein Grabbauteil war, wurde im Gräberfeld der Zivilstadt am Donauufer gefunden, wo es sekundär im Grab verwendet wurde. 2 Der greise König ist auf das rechte Knie gesunken. Er trägt ein langärmeliges orientalisches Gewand und die phrygische Mütze. Sein Mantel schwingt im weiten Bogen hinter seinem Rücken. In der ausgestreckten Rechten bietet er Achill eine Kette oder vielleicht ein Halsband dar. Der junge griechische Held sitzt rechts, auf Hektors leblosem Körper. Er ist halbbekleidet, seine Brust ist enblößt. Die rechte Hand streckt er vor, um ein Lösungsgeschenk zu erhalten. Hinter Achill gibt es einen Sockel, worauf eine behelmte männliche Büste aufgestellt ist. Den Raum hinter Priamos füllt eine Frau, die aufgrund seines wehenden Mantels nur von der Brust aufwärts sichtbar ist. Ihr Kopf ist verdeckt und ihre Hände sind zusammengelegt. Der linke Reliefrand ist nicht erhalten und im Hintergrund, dicht hinter der Frau, sind noch die Gewandfalten einer Gestalt erkennbar. 3 Besonderes Augenmerk verdienen die Einzelfiguren. Sitzend und halb bekleidet, mit entblößter Brust und ausgestrecktem Arm, spiegelt Achill zahlreiche kaiserzeitliche Darstellungen wider. 4 Das gleiche Schema wird auf stadtrö-
Katarina Šmid »Po kopnem in morju pot je zaprta – nebo je odprto…«: * Ikarjev lik na nagrobnih sp... more Katarina Šmid »Po kopnem in morju pot je zaprta – nebo je odprto…«: * Ikarjev lik na nagrobnih spomenikih Norika in Panonije V nekdanjih rimskih provincah Noriku in Panoniji, ki sta segali tudi na oze-mlje današnje Republike Slovenije, so bile, sodeč po doslej odkritih primerih, kiparske upodobitve Ikarja številčno presenetljivo dobro zastopane. Motiv nesrečnega letalca, v antičnih likovnih upodobitvah sicer dobro dokumen-tiran v keramiki, gliptiki, relieh in predvsem v slikarstvu, je bil v kamniti plastiki le redko zastopan. Večkrat je bil upodobljen v bronu v grškem oziro-ma vzhodnem svetu (zlasti na Kreti in v Smirni). Kot je med prvimi ugoto-vil že Arnold Schober, je najštevilčneje zastopan ravno v Noriku in Panoni-ji, med katerima močno prednjači Panonija (zlasti Poetovio, Savaria, Aquin-cum), kljub temu da je bilo največ, do sedaj osem kiparskih upodobitev Ikar-ja najdenih na ozemlju noriškega mesta Flavia Solva. Poleg primerov iz Fla-vije Solve iz noriških mest prihajata le še dve najdbi, obe z območja Celeje. S področij zunaj obeh omenjenih provinc je večje število primerov izpričanih še v Regio X Venetia et Histria. Na obravnavanem geografskem področju se je motiv pojavljal tako v reliefni kot v obli plastiki. Podobe so bile omejene na skupino z Dedalom oziroma Parko, ki mu pritrjuje krila, ter na celopostav-ni ali doprsni tip Ikarja z razprtimi rokami in s krili tik pred vzletom oziro-* Ov., Met. .–. Prevod Kajetan Gantar. Ghedini, »Tradizione ellenistica nella scultura aquileiese«, .
The four-figural scene on the left lateral side of a marble aedicula tomb of the family of Caius ... more The four-figural scene on the left lateral side of a marble aedicula tomb of the family of Caius Spectatius Priscianus in Šempeter in the Valley of Savinja has been since its discovery diversely interpreted.
At first, Josip Klemenc unconvincingly explained it as the abduction of a woman, probably Helen (pair in the middle; the other two figures represent the abductor's helpers).
Klemenc's interpretation was justifiable refused by Erna Diez, who has all four figures correctly designated as the male figures and therefore explained the motif as the scenes from sport contests: in the centre is wrestling in palestra (πάλη), watched by an ephebe on the left, who is an additional athlet (ἔφεδρος) and is enthusiastically waiting for his turn. His right arm is lifted and the fingers are clenched together in the form of άπαγορεύει, a gesture, which marks a defeat of one of the contestants and consequently marks the entrance of the next competitor. The remaining ephebe, does not belong to the combat in palestra, but to the other agon – to λαμπαδηφομία and the athlet would therefore be a torchbearer (λαμπαδηδρόμος). Although the relief is a bit abraded, Diez claimed, that his head is adorned with the headdress in the form of a »radiant crown«, which was worn by λαμπαδηδρόμοι as it is seen in the vase paintings from 5th to the beginnings of the 4th century B.C.
However, in her seminal article from 1993 Margaretha Bonanno Aravantinos drew attention to the fragmentary Attic sarcophagus from Thespiae with the story of Orestes, Iphigeneia and Pylades among the Taurians (Archaeological Museum of Thebes, inv. nos. 101A, 101B, 101Δ, 101E, 101ΣΤ, 101T, 103–105, 108, 109Δ, 109E, 109E¹, 112A). Per analogiam she has interpreted all the narrative reliefs in the tomb of Spectatii as the scenes from Iphigeneia among the Taurians. The combat of Orestes or Pylades against the Taurian would be in the middle of the discussed relief , whereas the ephebe on the right bears resemblance to the figure on the relief of Iphigenia's escape in Dravinjski Vrh, as well as to some other Pannonian depictions of that motif (Magyar Nemzeti Múzeum, inv. no. 62.84.1-2, 62.85.1–2; Tác, Gorsium Szabadtéri Múzeum Régészeti Park) and on two Roman sarcophagi (Weimar, Schlossmuseum, inv. no. G 1744; (Windsor, Windsor Castle, inv. no. 8712, dal Pozzo VIII fol. 11). For the figure on the left corner Bonanno Aravatninos did not find a parallel; in my opinion the ephebe is taken after Meleager on the subgroup of Meleager-sarcophagi from the third quarter of the 2nd century A.D.
Im Regionalmuseum Celje (Cilli) in Slowenien befindet sich eine stark beschädigte Grabstele mit d... more Im Regionalmuseum Celje (Cilli) in Slowenien befindet sich eine stark beschädigte Grabstele mit der Darstellung einer Kampfszene, welche die sogenannte "Pasquino-Gruppe" nachahmt. Tatsächlich könnte die Komposition der Figuren eine Interpretation der Figuren Ajax mit dem Leichnam Achilles zeigen. Diese wurde zweifellos an einigen römischen Steindenkmälern verwendet, aber erschien nur selten an Grabmonumenten. Nach meinem Wissen ist die Grabstele in Celje die einzige Grabstele mit dieser Darstellung. Aufgrund des Erhaltungszustandes ist die Entstehungszeit schwierig zu bestimmen. Anhand ikonographischer Analysen und der Stelentypologie wird die Datierung um 150-200 n. Chr. vorgeschlagen.
This article discusses the fragmentary relief on the funerary aedicula of Spectatii at the Roman ... more This article discusses the fragmentary relief on the funerary aedicula of Spectatii at the Roman necropolis
at Šempeter in the Valley of Savinja. It is the only narrative relief of this location, whose interpretation
is still puzzling.The dating of this impressive marble tomb oscillates between the later Antonine and the
early Severan period, while the apparent terminus post quem non for it is provided by the enactment of
the Constitutio Antoniniana in 212 A.D. In scholarly literature to date, the intriguing relief was mostly
– without any argumentation – put aside with the combat of Orestes and Pylades against the Taurians.
The aim of the paper is to elucidate some probable interpretations as indicated per analogiam with
the depictions carved on marble Orestes-sarcophagi which are produced in two main cultural hubs, i.e.
Rome and Athens, or, on balance, regarding the accounts recorded in primary classical sources (albeit
not always documented in visual arts). The following scenes are taken into consideration: Pylades saving
Orestes, the combat of Orestes or Pylades against the Taurians in front of an Artemis’ shrine, the murder
of Aigisthos and Clytaimestra in Argos or the death of Thoas on the island of Sminthe. Nevertheless,
it is quite possible that the figures – or in all probability only the lying one – hark back to the other
pictorial source and do not derivate from the well-established Orestes-cycle. On the whole, the final
answer remains – due to the extremely poor preservation – difficult or even impossible to state.
Umetnine v žepu, 16, 2019
The book presents the work on the site of the Roman villa maritima with a Roman port on the North... more The book presents the work on the site of the Roman villa maritima with a Roman port on the Northern Adriatic coast (Slovenia), dated from the 1st century BC to the 1st century AD. The site was presented as an archaeoloigical park after the conservation of the mosaics and architectural remains, the underwater trail was set to visit the remains of the Roman port, interpretation centre for visitors was established and new trails to discover natural and cultural heritage of the area were prepared.
![Research paper thumbnail of Umetnost istrskih obalnih mest / Arte e architettura delle città istriane / Art and Architecture of Istrian Towns [2018]](https://attachments.academia-assets.com/57824766/thumbnails/1.jpg)
](Simpozij Slovenskega umetnostnozgodovinskega društva / Convegno della Società slovena di storia dell'arte / Conference of Slovenian Association of Art Historians - Koper / Capodistria, 23.–25. 11. 2018
by Center for Preventive Archaeology IPCHS, Susanne Lamm, Patrick Marko, Edisa Lozić, Heinrich Zabehlicky, Martin Auer, Ivana Ožanić Roguljić, Manca Vinazza, Katarina Smid, Eva Butina, Gasper Rutar, and Eleni Schindler
Monografije CPA, 2018
Zbornik je obsežna publikacija o novih dognanjih z različnih področij rimske provincialne arheolo... more Zbornik je obsežna publikacija o novih dognanjih z različnih področij rimske provincialne arheologije in vsebuje prispevke, predstavljene na 1. mednarodnem arheološkem simpoziju z naslovom Nova odkritja med Alpami in Črnim morjem. Rezultati raziskav rimskodobnih najdišč v obdobju med leti 2005 in 2015. In memoriam Iva Mikl Curk. Simpozij je potekal na Ptujskem gradu oktobra 2015. Simpozij sta organizirala Zavod za varstvo kulturne dediščine, Center za preventivno arheologijo in Pokrajinski muzej Ptuj-Ormož.
Zbornik vsebuje 25 prispevkov avtorjev iz Slovenije, Hrvaške, Avstrije in Italije. Vsebina prispevkov zajema aktualne rezultate raziskav rimskih najdišč na širšem območju rimskega cesarstva ter njihovo vključitev v širši kontekst ekonomskega, socialnega in družbenega dogajanja v rimskem obdobju.