scholarly journals A message from beyond the grave: Hercules rescuing Hesione on a Stojnik funerary monument

Starinar ◽  
2020 ◽  
pp. 111-125
Author(s):  
Nadezda Gavrilovic-Vitas ◽  
Jelena Andjelkovic-Grasar
Keyword(s):  
National Museum ◽  
Funerary Art ◽  
Roman Army ◽  
Life After Death ◽  
Roman Provinces ◽  
The Rich ◽  
Sea Monster

The research of this study is dedicated to a unique iconographical scene in the territory of the Central Balkan Roman provinces, of Hercules rescuing Hesione from a sea-monster (ketos), depicted on a funerary monument found in 1931 at the site of Stojnik, in the vicinity of Belgrade, antique Singidunum, and now displayed in the lapidarium of the National Museum in Belgrade. The funerary monument was erected for the deceased, a veteran of cohors II Aurelia nova, Publius Aelius Victorinus, by his wife Aurelia Rufina and their son Publius Aelius Acutianus. The rich iconography of the monument makes it a very important example of funerary art in the period from the end of the 2nd and the beginning of the 3rd century - the eschatological symbolism of the presented scenes and motifs is more than clear and underlines not only the hope of the deceased?s family for his eternal and blessed life after death, but also the deceased?s victory over death and presents him as a symbol of courage and virtue. The architectural scheme of the monument, along with its iconography, suggests strong artistic influences from Noricum and both the Pannonian provinces, while the the mythical tale of Hercules and Hesione was chosen, it is argued, not only because Hercules was one of the most favoured gods in the Roman army, but also because he was a protector of miners and mines.

scholarly journals Roman Terracottas From the Lower City of Olbia from the collection of the National Museum of the History of Ukraine

Archaeology ◽  
2021 ◽  
pp. 108-117
Author(s):  
Roman Kozlenko ◽  
◽  
Olha Puklina ◽  
Keyword(s):  
Black Sea ◽  
National Museum ◽  
Roman Army ◽  
Black Sea Region ◽  
Left Hand ◽  
Port Area ◽  
History Of ◽  
Higher Rank ◽  
Roman Military ◽  
The City

The article introduces clay figurines of eagles and terracotta of a Roman soldier, which were found during excavations at the Lower City of Olbia in the 1930—1940-ies, and are kept in the National Museum of the History of Ukraine. The iconography of the eagles is similar to the terracotta statuette of an eagle found in the praetorium building in the Upper City of Olbia. The series of rooms, in which the eagle figurines were found, belong to the Roman garrison structures, which were located in the port area of the city. Terracotta eagle figurines could be used in military sanctuaries, and imitate Roman military standards, or be associated with the worship of Jupiter. Analogies to these products are known from the Roman fortresses on the Danube and in Dacia province. The fragment of terracotta with a shield was a part of a Roman soldier figurine with hanging limbs. The warrior was depicted wearing a Roman military cloak (sagum). This indicates his higher rank, in contrast to the soldiers dressed in tunics. In his left hand he holds a shield (clipeus), which depicts a deity in armor, with rays above his head. The terracotta depicts warriors armed with gladius, and belted with a Roman military belt (cingulum militare). They depict the servicemen of the auxiliary troops of the Roman army — auxilia, or, given the non-standard shape of their shields, the sailors of the Moesian fleet (milites classiarii), whose units were stationed in Olbia, as is known from the epigraphic finds. The places of their finds mark the points of deployment of the Roman troops in the Northern Black Sea region. These terracottas could serve as votives in ritual rites associated with the cult of Mithras, which appears in Olbia as a result of the Roman garrison deployment in the city during the second half of the 2nd — first half of the 3rd c. AD.

scholarly journals Konsep Prajurit Allah Berdasarkan Efesus 6:10-20 dan Implementasinya Dalam Kehidupan Orang Percaya

2019 ◽  
Vol 1 (1) ◽  
pp. 40-56
Author(s):  
Yolanda Olivya Kadjakoro
Keyword(s):  
Word Of God ◽  
Apostle Paul ◽  
Roman Army ◽  
Roman Provinces

A soldier of God will always be identical to his armor. God's armor itself is a picture used by the Apostle Paul in his letter to the congregation at Ephesus. Paul ended this letter to the congregation by giving a description of the weapons used by the Roman army at that time. The weapons themselves are belts, armor, shoes, shields, helmets and swords. Paul gives this picture so that his readers in Ephesus can understand that it is actually one of the Roman provinces. This weapon of God does not only apply to the Ephesians, but can also be drawn into the lives of believers, namely that the war of believers against the powers of Satan must be equipped with truth, justice, willingness, faith, the word of God, and prayer. Seorang prajurit Allah akan selalu identik dengan perlengkapan senjatanya. Perlengkapan senjata Allah sendiri merupakan suatu gambaran yang dipakai oleh Rasul Paulus dalam suratnya kepada jemaaat di Efesus. Paulus mengakhiri suratnya ini kepada jemaat disana dengan memberikan gambaran perlengkapan senjata yang dipakai oleh tentara Romawi pada saat itu. Perlengkapan senjata itu sendiri ialah  ikat pinggang, baju zirah, kasut kaki, perisai, ketopong, dan pedang. Paulus memberikan gambaran ini agar dapat dimengerti oleh pembacanya di Efesus yang notabene adalah salah satu propinsi Romawi. Perlengkapan senjata Allah ini tidak hanya berlaku bagi jemaat di Efesus saja, tetapi juga dapat ditarik ke dalam kehidupan orang percaya yaitu bahwa peperangan orang percaya melawan kuasa-kuasa Iblis harus dilengkapi dengan kebenaran, keadilan, kerelaan, iman, firman Allah, dan doa.

scholarly journals A Contested Jurisdiction: Armenia in Late Antiquity

2017 ◽  
pp. 199-220 ◽  
Author(s):  
Tim Greenwood
Keyword(s):  
Late Antiquity ◽  
Ninth Century ◽  
Tenth Century ◽  
Legal Culture ◽  
Late Antique ◽  
Legal Tradition ◽  
Roman Provinces ◽  
History Of ◽  
The Rich ◽  
The Village

Although Roman and Persian engagement with late antique Armenia has been analysed from several perspectives, its juridical dimension has been largely ignored. This chapter provides a reassessment of the legislation pertaining to Roman Armenia from the reign of Justinian, arguing that it offers a reflection of legal practices operating beyond the newly reorganised Roman provinces, in districts of Armenia under Persian hegemony. It may also attest the seeping of Roman legal culture beyond the formal limits of the jurisdiction. Crucially, the local inheritance practices which the legislation prescribes find analogues in Sasanian jurisprudence. Although not every aspect of Persian legal culture will have been replicated in the districts of Armenia or received in the same way, the rich Armenian literary tradition from late antiquity reveals a proximate legal culture, expressed in terms of concepts employed and processes followed. Three illustrations from Łazar P‘arpets‘i History are examined. Furthermore two later compilations preserve valuable evidence of law in practice. The tenth-century compilation titled History of Ałuank‘ contains a collection of documents deriving from the Council of Partav convened in 705 CE. One of these confirms that land across Caucasian Albania was still being bought and sold at this time, that there was current uncertainty over whether the transfer of a village included the village church and its endowment, and that laymen had been represented as holding clerical status to circumvent this. A specific case is then outlined. The late thirteenth-century History of Siwnik‘ on the other hand contains transcripts of fifty-two documents, and summaries of twelve more, recording property transactions in favour of the bishops of Siwnik‘ and the see of Tat‘ev. It is argued that the earliest of these, dating from the middle of the ninth century, preserve clear vestiges of Sasanian legal culture. Armenian sources have much to tell us about law and legal tradition in Sasanian Persia.

scholarly journals Roman mirrors from a private collection in the Hungarian National Museum

2013 ◽  
pp. 21-44
Author(s):  
Anikó Bózsa
Keyword(s):  
National Museum ◽  
Private Collection ◽  
Roman Provinces

In 2002, the Hungarian National Museum obtained by condemnation and adjudication a private metal collection from Kaposvár with more than 10,000 objects, among them numerous Roman mirror fragments. Unfortunately there is no information on the provenance of the finds, but it is possible that they have a south Pannonian origin. The aim of the present paper is the description and classification of the mirror fragments as well as their comparison to the Pannonian and Italian types and forms from other Roman provinces.

The Egyptian collection from Łohojsk in the National Museum in Warsaw

Światowit ◽  
2019 ◽  
Vol 57 ◽  
pp. 249-257
Author(s):  
Aleksandra Majewska
Keyword(s):  
World War Ii ◽  
Fine Arts ◽  
Substantial Part ◽  
National Museum ◽  
World War ◽  
Ancient Egyptian ◽  
Works Of Art ◽  
Museum Of Fine Arts ◽  
The Rich

The National Museum in Warsaw, founded in 1916, took over the function of the older Museum of Fine Arts in Warsaw, founded in 1862. Between 1918 and 1922, the National Museum was systematically enriched through donations by private persons and institutions. One of the most important collections, placed there in 1919, was that originating from an old private museum owned by the Tyszkiewicz family in Łohojsk, donated through the agency of the Society of Fine Arts ‘Zachęta’ in Warsaw. The museum in Łohojsk (today in Belarus, not far from Minsk) was founded by Konstanty Tyszkiewicz (1806–1868). The rich collection of family portraits, paintings, engravings, and other works of art was enriched in 1862 by Count Michał Tyszkiewicz (1828–1897), who bequeathed a substantial part of the Egyptian antiquities brought from his travel to Egypt in 1861–1862. The Łohojsk collection was partly sold by Konstanty’s son, Oskar Tyszkiewicz (1837–1897), but some of these objects were purchased in 1901 by a cousin of Michał Tyszkiewicz, who then donated them to the Society of Fine Arts ‘Zachęta’. At this stage, the whole collection amounted to 626 items, of which 163 were connected to Egypt. During World War II, the National Museum in Warsaw suffered serious losses. At present, the exhibits originating from Łohojsk include 113 original ancient Egyptian pieces, four forgeries, and 29 paper squeezes reproducing the reliefs from the tomb of Khaemhtat of the 18th Dynasty (Theban tomb no. 57).

Archaeology in the Rock and Pelican Lake Area of South-Central Manitoba

1945 ◽  
Vol 11 (2) ◽  
pp. 88-94 ◽  
Author(s):  
Chris Vickers
Keyword(s):  
Natural History ◽  
Lake Area ◽  
National Museum ◽  
South Central ◽  
Scientific Institutions ◽  
Trained Personnel ◽  
University Of Manitoba ◽  
The Rich ◽  
The Government ◽  
The University

The notes which follow are the work of an amateur. I am fully aware of the possibility that all of the conclusions, speculations, and suggestion s contained in them may be refuted by further inquiry. This would not be unwelcome, for the main reason for compiling the material was the hope that some day The National Museum of Canada and the various scientific institutions in the province would attack the intriguing problems of our archaeology. The University of Manitoba, The Manitoba Museum Association, The Manitoba Historical Society, The Natural History Society, The Government of the Province of Manitoba, and others should be aware of the rich story of our past and should give earnest consideration to securing the necessary funds and properly trained personnel to interpret that story.

scholarly journals Qing monochrome porcelain from the Collection of the Bohdan and Varvara Khanenko National Museum of Arts

2019 ◽  
pp. 168-177
Author(s):  
O. Novikova
Keyword(s):  
Difficult Problem ◽  
National Museum ◽  
Color Intensity ◽  
Identification Problems ◽  
Ruling Elite ◽  
Original Works ◽  
Complex Technology ◽  
Thin Walled ◽  
The Rich ◽  
The Difference

The article analyzes Qing monochrome products of Chinese porcelain and studies the complex technology of their manufacture. This publication is also devoted to the main identification problems of Chinese monochrome thin-walled ceramics and its terminology. When dating and attributing Chinese monochrome porcelain causes the most difficult problem. Thin-walled monochrome glaze ceramic products manufactured at different times are often distinguished only by barely noticeable changes in parts and other proportions of products. Furthermore, the plagiarism was uncharacteristic of Chinese, and the imitation and copying of works of past epochs, in their opinion, only confirmed the value of original works and even gave a sacred meaning to them. The basis for this approach was the idea of ​​connection between epochs, the continuity of traditions and the respect to ancestors supported by the ruling elite, because it was a part of the official religion of the statе – Confucianism. The secret of regenerative firing has been discovered that restores the natural color of metals in their oxides in the glaze composition thanks to the carbon by giving the rich hue color intensity to the monochrome Chinese ceramics. The play of different colors achieved exclusively by ceramic techniques is very attractive, and products colored in such way are sometimes more expensive than the painted glazed ceramics. In Qing times ceramists manufactured a lot of porcelain products that mimicked samples of previous epochs. From time to time potters created almost exact copies of products, so it is sometimes difficult for present-day researchers to tell the difference between late imitations and original ancient works. That’s way the purpose of this article is to analyze works of Chinese Qing monochrome porcelain from the collection of the Bohdan and Varvara Khanenko National Museum of Arts, to demonstrate the manufacturing technology and terminological features and to specify attributions. This study has been illustrated by pieces from the Bohdan and Varvara Khanenko National Museum of Arts.

Religion in the Roman Provinces

2015 ◽  
Author(s):  
James B. Rives
Keyword(s):  
Religious Organization ◽  
Religious Traditions ◽  
Literary Sources ◽  
Roman Provinces ◽  
Key Issues ◽  
The Rich ◽  
Rich Material

Without inscriptions, the study of religion in the Roman provinces would scarcely exist. Much can be learned from the rich material remains about sanctuaries, iconography, and even cult practices, but apart from a few scattered references in literary sources, we would know almost nothing of the names of the deities worshipped, very little of religious organization and cult personnel, and far less about key issues such as the interaction of local and imperial religious traditions. This chapter also emphasizes a few of the less obvious insights into ancient conceptions of the divine that we can gain from inscriptions.

‘Natural Images’ Project: Re-discovering the photographic collections at Amgueddfa Cymru – National Museum Wales

2016 ◽  
Vol 41 (3) ◽  
pp. 151-159
Author(s):  
Melanie Williams
Keyword(s):  
Project Team ◽  
Natural Images ◽  
National Museum ◽  
Recorded Data ◽  
The Rich ◽  
Photography Collections ◽  
First Time ◽  
Selection Of

In 2011, Amgueddfa Cymru – National Museum Wales embarked on a project to digitize a selection of its historic photography holdings. It was the first time that the collections were looked at holistically. The project brought together curators from all collecting areas, encouraging cross departmental engagement, and brought to light collections that spanned numerous departments. How were collections chosen for digitization? What lessons were learned? The issues of incomplete metadata, the use of multiple numerical references and the varied way in which departments recorded data were just some of the issues faced by the project team. After three years, the rich historic photography collections are not only better understood, but there is now a legacy for further research and public dissemination.

scholarly journals The hand gesture and symbols of Sabazios

2018 ◽  
Vol 11 ◽  
pp. 151-168
Author(s):  
Susanne Berndt
Keyword(s):  
Roman Empire ◽  
Hand Gesture ◽  
Hellenistic Period ◽  
Roman Army ◽  
Life After Death ◽  
Imperial Period ◽  
Material Evidence

The material evidence left from the cult of Sabazios is meagre, apart from sculpted bronze hands dating to the Roman Empire. The hand is held in a certain pose, the so-called benedictio Latina gesture, and the hand was often covered with depictions of various objects and symbols. The bronze hands were probably attached to staffs and carried around in processions. This practice most likely spread via the channels of the Roman army during the Early Imperial period, but the gesture existed much earlier. The gesture is found on Attic black- and red-figured pottery, and is frequently associated with Hermes in his role as instructor and Psychopompos. From the beginning of the Hellenistic period the gesture was mainly used as an indication of speech, and for knowledge transmitted through speech. There are several examples of how the gesture was used to indicate the knowledge revealed through the initiations of mystery cults. Hermes is closely associated with Sabazios and is represented on the bronze hands, probably because of his role as instructor and Psychopompos; i.e. the position played by the mystagogue in the Sabazian mysteries. The gesture of the hands simply denoted the knowledge acquired through the initiation. The symbols on the hands are often associated with the Underworld, and it is suggested that knowledge acquired in the Sabazian mysteries dealt with life after death and the Underworld.

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