RESUMENEl trabajo comienza con el estudio de una escultura romana, que decoró el arco de los Gigantes de Antequera (Mála-ga) y que presenta un tipo escultórico poco constatado. Las piezas identificadas remiten a una serie de esculturas de carácter honorífico y funerario, datadas desde época augustea hasta momentos flavios.La prenda con la que se visten estas figuras se identifican con un tipo de vestido, el ricinium, característico del período de luto. Esta asociación permite adscribir estas representaciones a ambientes funerarios privados, figurando a la viuda. Asimismo, el tipo se asocia, en algunas ocasiones, con representaciones honoríficas de personajes públicos en el período de luto. En estos casos, el contexto y el programa iconográfico en el que aparecen algunas de estas esculturas han permitido asociarlas con el acontecimiento de las honras fúnebres decretadas en conmemoración de Germánico, proponiéndose su identificación con su viuda, Agripina Maior, en los monumentos erigidos tras la muerte de su esposo, en el obligatorio tempus lugendi, durante el año de luto. SUMMARYThis study begins with a study of a Roman statue that decorated the Arco de los Gigantes (the Giants' Arch) in Antequera (Málaga, Spain) and that represents an infrequently found style of sculpture. The pieces identified belong to a series of hoorific and burial sculptures, dated from the Augustan period to Flavian times.The garment depicted in these statues is identified as an article of clothing, the ricinium, characteristically worn in periods of grieving. This association allows this type of representation to be ascribed to private burial events, representing the widow. Likewise, the type is sometimes associated with honorific representations of public figures during periods of mourning. In these cases, the context and iconographic program in which some of these sculptures appear have allowed them to be associated with Germanicus and the funeral rites decreed in his honour, and we propose an identification with his widow Agrippina Maior, in the monuments erected after the death of her husband during the obligatory tempus lugendi (year of mourning).PALABRAS CLAVE: escultura honorífica romana, ricinium,
This paper presents a recent study on a Roman period marble sculpture depicting Empress Livia and the portraits of Germanicus and Drusus Minor, found at the praesidium of Asido (Medina Sidonia, Cádiz, Spain). The sculptures retain extensive evidence of their original polychromy. The properties and spatial distribution of these pigment remains were investigated by portable non-invasive and micro-destructive techniques, applying digital microscopy, and UV/VIS/NIR/SWIR spectroscopy, portable XRF and SEM–EDS analysis. The study revealed the presence of Egyptian blue and ochre on Livia’s mantle and charcoal black on Livia’s eyes and hair, remains that were not clearly visible to the naked eye. This is a significant approach, used to identify colours on ancient marble sculpture, which transforms our understanding of these unique pieces. Elemental composition analysis by pXRF has confirmed the evidence of pigments, furthermore supported by the Raman results, making it possible to develop and reconstruct the colour palette that originally brought these sculptures to life in vibrant polychrome. The research offers a new methodology for identifying pigments on marble sculpture and opens new ways for investigating other types of material culture aided by the development of the analytical equipment mentioned.
Recopilamos en esta ocasión un conjunto de esculturas romanas que tuvieron la función de fuentes en Colonia Patricia Corduba, en concreto dos estatuas de ninfas, una personificación de divinidad acuática masculina y una fuentecilla con escalinatas, junto a otras piezas -conocidas solo por referencias literarias- que pudieron tener la misma función. Además de su estudio tipológico y estilístico, del que se deduce su elaboración en talleres escultóricos locales a lo largo del siglo II d.C., valoramos especialmente su significado urbano dentro de la ciudad.
Resumen: Se analiza el problema de la localización de la ciudad de Vlisi en tierras de la actual Archidona (Málaga), con la revisión de las inscripciones y las esculturas romanas. Se propone la identificación de una escultura femenina como representación de Deméter-Ceres. Palabras clave: Vlisi. Arqueología. Baetica. Escultura romana. Deméter-Ceres. Inscripciones latinas. Abstract:We analyze the problem of the location of the Roman city of Vlisi, near the current village of Archidona (Malaga), with a study of the Roman inscriptions and sculptures. It is proposed to identify a female sculpture as a representation of Demeter-Ceres.
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