Akademisk avhandling - Lund. / Originally published in 1965 as Skrifter utgivna av Svenska institutet i Athen, 4,̊ V, II:1. Acta Instituti atheniensis regni sueciae, ser. in 4,̊ V, II:1. Bibliography: p. [94]-95.

Thesis (Ph. D.)--New York University, 1982. / Includes bibliographical references (leaves 210-223) and index.

Thesis (M.A.)--University of Louisville, 2004. / Department of Fine Arts. Vita. "May 2004." Includes bibliographical references (leaves 57-59).

The author's thesis, Leyden. / "Addenda": leaf inserted. "Table de la littérature et des abbréviations": p. 137-138.

"A thesis approved by the University of London for the degree of PH. D." / Includes bibliographical references.

Thesis (Ph. D.)--Bryn Mawr College, 1934. / Vita. Bibliography: p. [79]-80.

Portable objects made of terracotta, stone, and bronze, among other materials, stylistically linked to cultural spheres around the eastern Mediterranean basin and further inland in the Near East, Cyprus, and Egypt, were dedicated with fervor at Greek sanctuaries during the Archaic period. Previously, such votive offerings were superficially interpreted as “foreign imports” and enumerated in oversimplified tallies and exoticizing lists of “orientalia” and/or “aegyptiaca.” They have been embedded as the stimuli of the so-called “Orientalizing” phenomenon—a 19th-century paradigm and enduring trend in scholarship that interprets aspects of culture as originating in the east and moving westward during the early first millennium. Focus was limited to identifying their geographical places of manufacture and attempting to reveal the identities of the dedicators. This paradigm limits attention to the origins of such objects and restricts interpretations of them to one-directional understandings of artistic “influence.” Informed by theories of materiality, modes of acquisition, the exchange of skilled crafting knowledge, and the movement of raw materials, finished products, craftspeople as well as their patrons in the eastern Mediterranean cosmos during the 7th and 6th centuries, this dissertation approaches the corpus through object biographies. It foregrounds three case studies—Cypriot style terracotta figurines from the Heraion of Samos, Egyptian sculptures from East Greek sanctuaries, and the composite North Syrian and Cretan sphyrelata korai from Olympia—to temper the broader theoretical discussions of intercultural artistic exchange during this time. The study explores a diverse array of artistic processes of material transformation ranging from the destruction, reuse, adaptation, and modification of objects to the local production of objects that can be stylistically linked to places far afield. By examining the materials from which and the manufacturing techniques by which such objects were made, it reevaluates where, when, and by whom they were crafted. The analysis identifies the tangible processes of artistic transmission to illuminate the exchanges of and interactions among the eastern Mediterranean craftspeople tasked with the fabrication of the dedications and the patrons who commissioned them. Ultimately, as singular artistic products, it is argued that the objects in the case studies represent intercultural attempts at unique votive object manufacture and communicate meaning by inhabiting more than one geographical space and temporally remote moments in time.

This dissertation concerns the sculptural representation of divinity in Hellenistic Central Italy, ca. 200 BCE-100 BCE. In so doing, it tackles the question of the role images played in Roman religion as well as the question of the relationship between Aegean Greek and Central Italian sculpture. Recent publications related to Roman divine images have respectively: a) suggested that the form of images was incidental to their functioning as sacred sculpture; b) proposed that images were not a necessary part of Roman religion; and c) considered the divine images themselves primarily significant as ideological statements on the part of their patrons. Furthermore, most scholarly treatments of sculpted images in Hellenistic Central Italy have to-date siloed architectural from freestanding sculpture, impoverishing the study of both categories of material. Most of these sculptures play little to no role in anglophone histories of ancient art. This project analyses the divine images of Hellenistic Central Italy through the lenses of scale, materiality, and body language. These analytical frames are used to show how the representation of the gods in freestanding and architectural sculpture was meaningfully differentiated from the appearance of sculpted images of mortal people. These differences, as well as the similarities, are highlighted in order to suggest patterns of response, and thereby to propose ways in which the category of ‘the divine’ was constructed in image form. The three lenses of scale, materiality, and body language likewise allow the significant differences, as well as the frequent points of similarity, between ‘Roman’ representations of the gods and the divine images of the Greek world to be elucidated. Chapter 1 presents the evidence from certain key sanctuaries, offering new reconstructions of fragmentary evidence and showing the interrelation between divine images of different kinds in these spaces. Chapter 2 compares divine images with sculpted representations of people through the lens of scale, showing that sculpted images of the gods were crafted at an intentionally ‘inhuman’ scale in Hellenistic Central Italy. Chapter 3 tackles the materiality of divine images, charting the new materials used to embody the gods in the second century BCE and, at the same time, stressing the ways that the use of materials differentiated divine from mortal images. A major theme, across media, is the production of composite, multi-material sculptures of the gods. Chapter 4 assesses the body language of divine images, showing the modifications made to existing sculptural types to make the bodies of the gods more dynamic and interactive to their viewers. The three key elements of divine body language exhibited by the sculpted representations of the gods are grandeur, ease, and engagement with a viewer. The results of this study demonstrate that images of the gods in Italy were constructed so as to differ significantly from the images of mortals. Through these means, images are shown to have embodied a ‘visual theology’, allowing conclusions to be drawn by their viewers about the nature and workings of the divine. In this way, images played an essential role in Roman religion, despite their non-appearance in ritual prescriptions. Further, Roman divine images are revealed to have been significantly different from the images of the gods in the Greek world. This project re-orients the study of the Central Italian images of the gods, focusing on the viewers of sculpture as well as the patrons. The conclusions reached reveal the central role of images in Roman religion in the Hellenistic Period and the value of visual evidence for anthropological approaches to the Roman world. These results regarding divine images provide as yet under-exploited evidence for the relationship between Greek and Roman sculpture.

The dissertation re-examines a fragmentary and understudied group of nearly 150 portrait statues representing Hellenistic kings. The surviving portrait statuary comprises a small fraction of those originally produced for kings in marble, bronze, gilded bronze, and other materials during the Hellenistic period. The corpus of extant statuary presents many interpretive challenges, from fragmentary conditions to often uncertain provenance, and from unrecognizable physiognomies of rulers to unstandardized royal iconographies. Most previous scholarship was concerned with identifying kings in their portraits, unfortunately without much success. As a result, the portraits have received relatively little attention over the past few decades, despite robust and relevant scholarly advances related to Greek portraiture and Hellenistic kingship. While most studies have focused on identifying faces and interpreting portraits in thecontext of specific reigns, the present study collates the art historical, archaeological, and textual evidence for royal portraits’ forms, iconographies, and original placements to gain a fuller understanding of the corpus. Analysis of surviving royal statue bases, literary accounts, honorific decrees detailing royal portrait commissions, and royal portraits in other media (e.g., coins, seals, bronze figurines, mosaics, etc.) reveals that royal portrait statues were often more diverse, conspicuous, theatrical, and divinizing than portrait statues representing non-royal individuals. The study demonstrates the resonances between these portrait features and the marvelous bodily adornments, choreographed movements, and calculated performances of kings' real bodies in royal rituals and spectacles, ultimately revealing that like the staged appearances of kings, Hellenistic royal portrait statues were conceived as conspicuous material syntheses of royal actors and royal roles.

Diss. : archéo. : Bonn : 1972. / Version commerciale de.