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Mellan rummet och rörelsen. Om avfärdsmotivet i bildframställningar av den romerska apoteosen

Rystedt, Eva LU (2016) In Tahiti 4.
Abstract (Swedish)

Abstract
When the leading Roman magistrates of the Republic, and later on the Roman emperors, made official appearances in connection with important political and military events and functions, some urban locations in the cityscape became symbolically charged, in Rome especially Forum Romanum, Capitolium and the city gates. The ceremonial acting in front of the assembled public was dependent on measures adopted to organize space and movement. Studying the patterns of acting starting from space and movement—space and movement are signal words in actual research—one may detect factors of importance for the cognitive underpinning of the ceremonies.

Taking my cue from space and movement, I study images of the imperial apotheosis of Roman... (More)
When the leading Roman magistrates of the Republic, and later on the Roman emperors, made official appearances in connection with important political and military events and functions, some urban locations in the cityscape became symbolically charged, in Rome especially Forum Romanum, Capitolium and the city gates. The ceremonial acting in front of the assembled public was dependent on measures adopted to organize space and movement. Studying the patterns of acting starting from space and movement—space and movement are signal words in actual research—one may detect factors of importance for the cognitive underpinning of the ceremonies.

Taking my cue from space and movement, I study images of the imperial apotheosis of Roman emperors, i.e. the divinization of Roman emperors by way of a ceremonial act at the Field of Mars in Rome (Campus Martius). Most of the material is made up of marble reliefs for public exposure. A natural question is how space and movement as related to the actual performance of the ceremony were transposed, or not transposed, into the image. Another question concerns how the visual representation of the vertical transport of the soul of the deceased into heaven and the Olympus, i.e. the cognitive kernel of apotheosis, was realized. I point at the iconographic model that became dominant in the public imagery, viz. departure, and why: it is connected to the notion of becoming a god, in the presence of people witnessing the start of the process. I also indicate the relevance of the apparent associations of space with the living and movement with the deceased. The space-movement elaboration in fact forms part of the construction of the Roman apotheosis as a visual motif. (Less)
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author
organization
alternative title
Between space and movement. On the motif of departure in images of Roman apotheosis
publishing date
type
Contribution to journal
publication status
published
subject
in
Tahiti
volume
4
ISSN
2242-0665
language
Swedish
LU publication?
yes
id
ebfb659c-e340-4c2b-99da-eeea429eeaf8
alternative location
http://tahiti.fi/04-2016/tieteelliset-artikkelit/mellan-rummet-och-rorelsen-om-avfardsmotivet-i-bildframstallningar-av-den-romerska-apoteosen/
date added to LUP
2019-01-30 11:31:30
date last changed
2019-01-31 12:33:47
@article{ebfb659c-e340-4c2b-99da-eeea429eeaf8,
  abstract     = {When the leading Roman magistrates of the Republic, and later on the Roman emperors, made official appearances in connection with important political and military events and functions, some urban locations in the cityscape became symbolically charged, in Rome especially Forum Romanum, Capitolium and the city gates. The ceremonial acting in front of the assembled public was dependent on measures adopted to organize space and movement. Studying the patterns of acting starting from space and movement—space and movement are signal words in actual research—one may detect factors of importance for the cognitive underpinning of the ceremonies.<br/><br/>Taking my cue from space and movement, I study images of the imperial apotheosis of Roman emperors, i.e. the divinization of Roman emperors by way of a ceremonial act at the Field of Mars in Rome (Campus Martius). Most of the material is made up of marble reliefs for public exposure. A natural question is how space and movement as related to the actual performance of the ceremony were transposed, or not transposed, into the image. Another question concerns how the visual representation of the vertical transport of the soul of the deceased into heaven and the Olympus, i.e. the cognitive kernel of apotheosis, was realized. I point at the iconographic model that became dominant in the public imagery, viz. departure, and why: it is connected to the notion of becoming a god, in the presence of people witnessing the start of the process. I also indicate the relevance of the apparent associations of space with the living and movement with the deceased. The space-movement elaboration in fact forms part of the construction of the Roman apotheosis as a visual motif.   },
  author       = {Rystedt, Eva},
  issn         = {2242-0665},
  language     = {swe},
  series       = {Tahiti},
  title        = {Mellan rummet och rörelsen. Om avfärdsmotivet i bildframställningar av den romerska apoteosen},
  volume       = {4},
  year         = {2016},
}