Des images dionysiaques aux limites du religieux : le cubiculum 4 de la villa des Mystères

Wyler, Stéphanie

doi:10.4000/books.pcjb.4644

Cited by 3 publications

(4 citation statements)

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“…15), vgl. dazu Turcan (1959); Wyler (2008a) Will man nun aber annehmen, dass die bakchischen Motive in der Casina wirklich als politische Anspielung auf die Situation der Jahre nach 186 v. Chr. verwendet sind, so fragt sich, welche Funktion sie haben sollen.…”

Section: Das Grauen Im Pseudo-brautgemach: Casinaunclassified

“…der realen Existenz solcher Höhlen Burkert (1987a) 100 f.; noch nicht zugänglich war mirJaccottet/Wyler (2018). Ein Beispiel bietet die bakchische Opferszene vor einem Höhleneingang auf einer Pinax in cubiculum 4 der Villa dei Misteri in Pompeii, dazuWyler (2008a) 455 f. Vgl. aber auch die sogenannten Satyrspielreliefs (s. o. S. 323 f., Abb.…”

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“…Zur Übertragbarkeit der Ikonographie von bakchischer Initiation auf allgemeine Hochzeitsszenen s Wyler (2008a)Isler-Kerényi (2004a) 40-43; vgl.…”

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Religiöse Geheimniskommunikation in der Mittleren und Späten Römischen Republik

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2024

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Section: Das Grauen Im Pseudo-brautgemach: Casinaunclassified

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Religiöse Geheimniskommunikation in der Mittleren und Späten Römischen Republik

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2024

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“…34 In that sense, these paintings are neither more religious nor any less meaningful than any other domestic art. 35 They are probably not representations of mysteries that the owner would have practised and wanted to represent as a kind of souvenir, though it is always possible that he was an initiate into a cult that did practise something like that which is painted here.…”

Section: S T Y L E S a N D T H E M E Smentioning

confidence: 99%

Roman Replications of Greek Art at the Villa Della Farnesina

Wyler

2006

Art History

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The decoration of the Villa of the Farnesina, designed in early Augustean Rome, displays a complex system of artistic and religious references to Greek culture. By means of an eclectic collection of artistic replications and emulations spread out through art galleries painted in trompe l'oeil, artists and owner reached a new style based on the appropriation of the conquered world, very carefully organized into a cultural hierarchy. The arts of classical Athens, embodied not only stylistically, but also thematically, are reproduced as framed pictures, whereas those of Hellenistic Egypt are integrated into the imitation of architecture. Dionysiac imagery functions as a paradigm of this system, at least in the preserved part of the villa: instead of losing divine prestige after Augustus's victory at Actium and his assumption of sole power in 31 BCE, Dionysos appears as one of the main keys to the whole decoration – as a sign of Greek cultures, assimilated for their familiar exoticism, into the new imperial language.

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L’habit fait-il le dieu ? Gestes et parures autour des hermes priapiques dans les images romaines

Wyler

2022

Archimede

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Résumé Les paysages dits sacro-idylliques présentent une relativement grande variété de scènes figurant des personnages mineurs occupés à vêtir, parer de guirlandes, charger d’offrandes des statues hermaïques, dont la seule caractéristique « à nu » est d’être phallique. Le dispositif rituel ainsi mis en image confère au pilier hermaïque davantage qu’une actualisation performative dans le cadre du geste cultuel, il lui donne son identité. Nous étudions ces processus dans la peinture, les stucs, la glyptique et la toreutique de la fin de la République et du début de l'Empire, confrontés à la poésie dite priapique et à sa traduction dans la poésie élégiaque contemporaine. Abstract Title: Do clothes make the god? Gesture and adornments linked to rustic herms in Roman images The so-called sacro-idyllic landscapes present a relatively wide variety of scenes depicting minor figures engaged in clothing, adorning with garlands, loading with offerings Hermaic statues, the only characteristic of which before being dressed is to have a phallus. The ritual system designed like that confers to the Hermaic pillar more than a performative agency during the cult, it gives to it its actual identity. I study these processes in paintings, stuccoes, glyptics and toreutics dating back from the end of the Republic and the beginning of the Empire, in comparison with the so-called Priapic poetry, and its translation into contemporary Elegiac poetry.

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Des images dionysiaques aux limites du religieux : le cubiculum 4 de la villa des Mystères

Cited by 3 publications

References 2 publications

Religiöse Geheimniskommunikation in der Mittleren und Späten Römischen Republik

Religiöse Geheimniskommunikation in der Mittleren und Späten Römischen Republik

Roman Replications of Greek Art at the Villa Della Farnesina

L’habit fait-il le dieu ? Gestes et parures autour des hermes priapiques dans les images romaines

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