Sculptors from Aphrodisias: Some New Inscriptions

Erim, Kenan T.; Rouéché, Charlotte

doi:10.1017/s0068246200009466

Cited by 10 publications

(3 citation statements)

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“…Epigraphic evidence suggests that sculptors from Aphrodisias were also famous abroad and worked on special commissions throughout the Roman Empire. Nearly 40 inscribed signatures have been found on sculptures in Italy, Greece, Crete and Asia Minor, as well as at Aphrodisias itself (Erim & Roueché, 1982: 102–115; Pensabene, 2002: 217–219).…”

Section: Historical Setting and Contribution Of The Research To Previ...mentioning

confidence: 99%

Ancient white and grey marbles from Aphrodisias: multi‐method characterization

et al. 2023

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The paper presents the results of the archaeometric investigation, conducted for the first time with the use of a wide range of analytical methods, on white and grey marbles exploited in the so‐called City and Regional Quarries of Aphrodisias (south‐western Turkey). The research, based on a multi‐method approach and performed on a representative set of samples, was aimed to provide a comprehensive evaluation of the most important properties of Aphrodisian marbles. The material studied here shows a large overlap in petrographic and geochemical features among the marbles exploited in local and regional quarries, as well as with most of the widespread marbles used in Antiquity. Surprisingly, none of the methods used here, either by themselves or used in combination, is sufficient to discriminate reliably between Aphrodisian and other marble types (mainly Paros‐Lakkoi and Prokonnesos), as well as between marbles extracted from the City and Regional Quarries. The only provenance indicator is the depleted δ13C values below +0.5‰ for the grey variety from sectors AF3 and AF9, which constitute 15% of collected samples. The presumed international use of Aphrodisian marbles may be difficult to verify based on these indistinct outcomes. Another important element of the study are the topographical measurements used to estimate the volume of extracted material.

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Section: Historical Setting and Contribution Of The Research To Previ...mentioning

confidence: 99%

Ancient white and grey marbles from Aphrodisias: multi‐method characterization

et al. 2023

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“…Fraser and Rönne (1957: 92-101) first argued that the lack of inclusion of an ethnic on funerary markers in Boeotia and Hellenistic Rhodes meant the individual was native to that area. Accordingly, it has been suggested that the absence of a toponym in the signature meant that the sculptor was local (Erim and Roueché 1982;Stewart 1990), even though local sculptors often did include a toponym. Furthermore, signatures, particularly of Hellenistic sculptors, seem not always to follow the expected patterns: Fraser (2009) has noted the peculiar use of the term Rhodios, rather than the more typical demotic (as used by Athenian sculptors while working in Athens), by sculptors at Rhodes, wondering if these craftsmen are foreign residents with limited citizenship rights for themselves and their descendents (for an alternative discussion of the possible meanings of Rhodios, see Goodlett 1991: 678-81).…”

Section: A Note On Toponymsmentioning

confidence: 99%

A Network Approach to Hellenistic Sculptural Production

Larson

2013

JMA

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Recent advances in network theory have facilitated the collection and analysis ofarchaeolo^cal data in new ways, with significant implications for the detection of social networks and transmission of information in the ancient world. These new models invite a reassessment of the diffusion of information and organization of artistic production that has long been based on physical mobility and familial organization of workshops. This article applies network analysis to a corpus of sculptors'signatures from the Helknistic Aegean in order to test the scale and frequency of mobility and significance of social relationships in sculptural production. Signatures, with their formulaic patronyms and toponyms, reveal complex personal relationships between sculptors, their collaborators, and the places they lived and worked. In turn, these affliations shed light upon physical and conceptual connections among sculptors over time and space. Network modeling reveals that communication among clusters of sculptors working in different production centers fiuctuates over theHellenistic period, with the optimal period for homogeneous cultural expression coinciding with the small world properties of the network around the mid-2nd century BC, when a few key itinerant individuals create bridging ties between centers. This study yields a more holistic model for sculptural production during the Hellenistic period in which the duration, distance, andfiequency of individual itinerancy is less common than has been assumed. Direct familial relationships emerge as less important for workshop organization than a common city or region of origin.

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“… 74 IGUR IV.1592–1611, with Erim and Roueché 1982. On the statues: Bergmann 1999: 14–17; Moltesen 2000; Vorster 2012/2013: 396–400.…”

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confidence: 99%

Troilos and Achilles: A Monumental Statue Group from Aphrodisias

Smith

Hallett

2015

J. Rom. Stud.

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A remarkable blue-grey marble horse with a white marble rider, found in the Basilica at Aphrodisias, has been a focus of recent research. The article describes the archaeology and history of the monument — how it can be reconstructed, with its base and in its precise setting in the Basilica. The group was a daring composition that had already fallen and been restored once in antiquity. What emerges is firstly a new full-size hellenistic-style statue group whose subject can be identified as Troilos and Achilles, and secondly a striking example of the long second lives of classical statues in Late Antiquity. The horse was a great public monument of the early imperial period that was moved to the Basilica probably in the mid-fourth century a.d., where it has a well-documented context. The subject of the group can be identified both from epigraphy and from its iconographic antecedents, and its version of the subject can be related to a particular strand in the rich later literary representations of the story.1

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Sculptors from Aphrodisias: Some New Inscriptions

Cited by 10 publications

References 1 publication

Ancient white and grey marbles from Aphrodisias: multi‐method characterization

Ancient white and grey marbles from Aphrodisias: multi‐method characterization

A Network Approach to Hellenistic Sculptural Production

Troilos and Achilles: A Monumental Statue Group from Aphrodisias

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