Αγαλμάτιο νεαρής ανδρικής μορφής των ρωμαϊκών χρόνων


Μέλπω Ι. Πωλογιώργη
Abstract

Roman statuette of a young male figure. The sculpture published here, kept in the Archaeological Museum of Piraeus (inv. no 1212), is a freestanding, smaller than life-size (max. preserved height: 0.415 m) statuette of a nude young man, preserved from the waist up. Evidence concerning its provenance does not exist, as the date at which the statuette was handed over to the Archaeological Museum of Piraeus remains unknown and no further information is available. Around 1971-72, the late Professor Giorgos Despinis, who served as Curator of Antiquities at the time, entered a brief description of the object into the Museum’s Inventory. The statuette is made of white, fine-grained marble, possibly Pentelic, covered with light brown patina. Aside from the lower body and the legs, the right upper limb is missing from the middle of the arm down. Similarly, the largest part of the left upper limb, which was possibly raised, is missing, also from the middle of the arm down. Traces of a round socket, intended for the insertion of a dowel, are preserved in the centre of the broken surface of the left arm. One more circular socket is found on the left shoulder connected to a shallow, narrow groove. On the left side of the torso, the remains of an integral rectangular support (puntello) survive, whose broken surface indicates that it was angled, leaning forward. Rasp marks are visible on either side of the neck, the area covered by the curls, as well as the left side of the torso, from the armpit to the puntello. Extensive use of drill is evident in the rendering of the hair. The figure’s hair that features “anastole” above the forehead, consists of rich curls that grow unevenly, framing the beardless youthful face, covering the ears completely. Based on stylistic grounds, the statuette is datable around the mid-2nd century AD or shortly later. The preserved evidence leads to the assumption that the figure held most likely a cornucopia in his raised left hand. The statuette depicted possibly a daemon or personified a benevolent force or a river.

##plugins.themes.ekt-hometheme.article.details##
  • Sezione
  • Articles
Downloads
I dati di download non sono ancora disponibili.
Riferimenti bibliografici
Δεσπίνης, Γ., Θ. Στεφανίδου-Τιβερίου, Εμμ. Βουτυράς (επιμ.) 2010. Κατάλογος Γλυπτών του Αρχαιολογικού Μουσείου Θεσσαλονίκης ΙΙΙ, Θεσσαλονίκη.
Κοκκίνη, Φ. 2020. «Προσωποποιήσεις ποταμών στα ψηφιδωτά των ρωμαϊκών αυτοκρατορικών χρόνων», AURA 3: 209-236.
Κολώνας, Λ., Μ. Σταυροπούλου-Γάτση. 2017. Αρχαιολογικό Μουσείο Πατρών, Αθήνα.
Μάλλιος, Γ. 2011. Μύθος και Ιστορία. Η περίπτωση της Αρχαίας Μακεδονίας, διδακτορική διατριβή, Θεσσαλονίκη.
Σταμπολίδης, Ν.Χρ., Δ. Τσαγκάρη, Γ. Τασούλας (επιμ.) 2017. Χρήμα. Σύμβολα απτά στην Αρχαία Ελλάδα. Αθήνα: Alpha Bank – Μουσείο Κυκλαδικής Τέχνης.
Στεφανίδου-Τιβερίου, Θ. 1993. Τραπεζοφόρα με πλαστική διακόσμηση. Η αττική ομάδα, Αθήνα.
Τσιάφης, Δ. 2017. Ιερά και λατρείες της Κάτω Μακεδονίας (Πιερία, Βοττιαία, Αλμωπία), Αδημοσίευτη Διδακτορική διατριβή, Θεσσαλονίκη: Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης.
Bakalakis, G. 1982. “Baphyras”, στο Pro arte antiqua, Festschift für Hedwig Kenner I, Sonderschriften herausgegeben vom Österreichischen Archäologischen Institut in Wien, III: 28-32, Wien.
Dacos, N. 1961. “Le Pâris d’ Euphranor », BCH 85: 371-399.
Fittschen, K. 1989. “‘Barbaren’-Köpfe: Zur Imitation Alexanders d. Gr. in der mittleren Kaiserzeit”, στο S. Walker, A. Cameron (eds) The Greek Renaissance in the Roman Empire. Papers from the Tenth British Museum Classical Colloquium, London 1986, Bulletin Supplement 55, 108-113, University of London, Institute of Classical Studies, London.
Jockey, Ph. 1993. “À propos de quelques fragments de statues féminines drapes retrouvés au cours des fouilles de Délos”, BCH 17: 435-480.
Kallipolitis, B. 1952. “Buste d’Olganos, héros éponyme d’un fleuve macédonien”, MonPiot 46: 85-91.
Knoll, K., Chr. Vorster, M. Woelk. 2011. Skulpturensammlung, Staatliche Kunstsammlungen Dresden, Katalog der antiken Bildwerke II, Idealskulptur der römischen Kaiserzeit 1, München.
Meyer, M. 2006. Die Personifikation der Stadt Antiocheia. Ein neues Bild für eine neue Gottheit, JdI Erg. 33, Berlin-New York.
Ostrowski, J.A. 1991. Personifications of Rivers in Greek and Roman Art, Krakόw, Universitas Iagellonica.
Palagia, O. 1994. “No Demokratia”, in W.D.E. Coulson, O. Palagia, T.L. ShearJr, H.A Shapiro, F.J. Frost (eds), The Archaeology of Athens and Attica under the Democracy, Proceedings of an International Conference celebrating 2500 years since the birth of democracy in Greece held at the American School of Classical Studies at Athens, December 4-6, 1992: 113-122, Oxford.
Pantermalis, D. 2016. Gods and Mortals at Olympus. Ancient Dion, City of Zeus, Onassis Foundation, Cultural Centre in New York, Athens.
Stewart, A. 2017. “Hellenistic Freestanding Sculpture from the Athenian Agora, Part 3. Agathe Tyche, Aphrodite, Artemis, Athena, Eileithia”, Hesperia 86: 83-127.
Vorster, Chr. 2004. Vatikanische Museen. Museo Gregoriano Profano ex Lateranense. Katalog der Skulpturen II 2, MAR XXXIV, Mainz am Rhein.