Roman´s Funerary Reliefs

When analyzing Romans Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” The artist used a multitude of visual elements to grab our attention. One great powerful example that caught my attention was the four corners of the roman sarcophagus. The four corners of the sarcophagus stood out the most to me be it depicted the battle's outcome while maintain a balance of each side. It shows us trophies, weapons, kneeling Amazon prisoners and hands bound behind their backs, but directly at the corners we men and women kneeling with their heads down which is unusually because through all of the weapons and trophies and chaos we see the after math of the battle. Showing us the true feeling of sorrow, forgiveness and possibly

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

The artwork I chose to talk about is on page 232. Figure 8.16, Funerary Relief of a Circus Official, Ostia, 110-130. The medium of the artwork is made from Marble relief. The Tombs in the old days of roman families built outside of the city walls, along roadways entering the city. The vision of the monuments is to preserve individual’s fame, family honor, and status in the society. The extended family of the deceased also held feasts and putting out food and drink for the dead for enjoying. The large figure in the picture is the official himself, holding hands with his wife at the left side. The handshake symbolizes in the Roman art the indication of marriage. The palm branch symbolizes the victory. There are many accents in the artwork

The study of Greek sculpture is a complex relationship of Roman sculpture. And a large number of Roman sculpture, especially in the stone, survives more or less intact, it is often damaged or piecemeal; life-size bronze statues are much more rare, because as most have been recycled for their metal. The

Among the many artworks I have seen, I decided to discuss about the “Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” from the Roman civilization. It was built sometime in between 140 A.D. to 170 A.D and is approximately forty and a half inches in length, ninety-one and a half inches in width, and fifty and a half inches tall in height (“Roman Sarcophagus”). This masterpiece appealed to me because of the unique approach that has been designed to honor the deceased. Many people are familiar with the formatting and inscriptions of a gravestone because it is usually engraved with an individual’s full name, birth date, and death date. During the Roman Empire, a sarcophagus, which is a coffin, was widely used to show decorative themes that includes: battle scenes, hunting scenes, weddings, or other memorable episodes from the life of the deceased individual. The most luxurious ones were made from marble surrounded by symbolic sculptures, figures and inscriptions on all four sides (“Sarcophagus”). Another feature that captured my attention was the large quantity of details used to bring out a lifelike aspect of the deceased individual’s favorable moments in their life. In this artwork, this sarcophagus was dedicated to a Roman commander. The exterior of the sarcophagus has been well-decorated and carved with exquisite details depicting a battle scene

During this period of time, the sculptures were produced first to celebrate ancient mystery cults and sacrifices of victorious military heroes and then to value the role of the Gods and Goddesses by their power and divinity. As more divine they were, it was considered to be a more religious sculpture piece. The sculptures of Gods and Goddesses were built as a form of remembering them through the years and their impact in the Roman society.

This coffin fundamentally preoccupies the room due to its scale and the treasure of imageries engraved into the marble in both high and low relief which give the sarcophagus a special attention. There is interesting details about the sarcophagus of Junius Bassus because while it contains many images of Christianity, the Seasons Sarcophagus suggests a look at a specimen of a pagan sarcophagus, and the two fragments look indefinitely alike, the images they cover ultimately differentiates them. Moreover, the pair is in the center of the carved side and it is fenced with a zodiac ring. Apparently, their faces’ expressions look tranquil as a substitute of sober. So, the manuscript displayed in the wall informs that the zodiac ring signifies the resting place of souls and it represents the holiness and religious spirituality related to the Roman’s life after death. (See pictures number 6 and

The Romans' everyday routines explain how funerary customs played a central role in society from the late Republic to early Empire. More importantly, examining the rituals will illustrate if there was a connection to the increasing popularity of inhumation at that time. There was a blurred line between life and death that made it appear as if there was a paradoxical attitude towards death. The observation can be made that death was an end to a person's physical life on earth but it did not stop the deceased from being a part of the Roman society.7 Keeping the memory of the deceased alive was vital in family homes. For this to occur the dead could not be cremated; the funerary rites to follow would not allow it because the physical body was necessary. The idea of honoring the recently deceased as an ancestor was stressed in society.8 The funerals of Roman aristocrats were quite extravagant and the deceased aristocrats were treated as if they were still a part of the living. This wouldn't be possible with a cremated body, so another option was to properly clean the body for the display in the atrium of the family household before the final disposal of the

Both Etruscan and Roman tomb sculpture function to memorialize the departed allowing them to move on from the world of the living and seeks to comfort those who have lost the ones they love. The two societies have differing practices in regards to death and therefore sculptures concerning the subject are somewhat different with a few identifiable similarities. While both societies seek to comfort the living and commemorate the dead this is achieved through different approaches. The Etruscan Sarcophagus with reclining couple from Cerveteri, Italy and the Mummy of Artemidorus from Roman Egypt are two examples of contrasting representations of the dead. When analyzing tomb sculpture one of the main questions is whether the work adapts a retrospective approach (presentation of the deceased as they were in life) or a prospective one (the viewpoint of looking forward to life beyond the grave). While the Etruscan sarcophagus gives a more retrospective memorialization through the depiction of the couple in a state of regularity the Roman Mummy of Artemidorus presents a more prospective approach concerning the deceased through the emphasis of funerary practices.

There have been countless duels between two opposing sides in the history Roman artistry. This sculpture relief signifies the classic battle of good versus evil. Time and time again, benevolent heroes find themselves in a struggle to combat worthy yet malicious adversaries. The Roman sarcophagus, a two by five feet marble coffin, is certainly no exception. It represents another division to this timeless good-evil epic, its visual characteristics, emphasis on contrasts, and its extensive array of details give it an identity that is uniquely its own. It portrays a sense of legendary fantasy to the viewer, one pertaining to hostility, violence, and pure anger. The sculpture seems overly shallow due to

In 27 BC Augustus began his political career with a “new policy which embodied a national and Roman spirit” (Galinksy, 1996, 225) and “represented new heights in creativity and sophistication” (Galinksy, 1996, 225). Augustus created a new political propaganda campaign that used art and architecture to promote and enhance his regime. The most fundamental message can be regarded as to establish the legitimacy of his rule and to portray him as the natural successor of Rome, as this is consistently presented throughout the visual programme. Yet factors such as the restoration of the Republic, reviving the old religion, nationalism and militaristic triumph can also be seen to be communicated prominently through art and architecture.

Roman sculptures combined the Greek idea of depicting people and scenes in their history. Unlike the Greeks, they didn't have sculptures of their gods, or mythical creatures, but they carved scenes of victories of wars (which they had a lot of), or great rulers. For example, on the Ara Pacis, or the Altar of Peace, a sculpture shows Augustus, the first Emperor of Rome, who brought peace Rome in 27 B.C. Another example is on the Arch of Titus, sculptures showed scenes of victorious Roman armies in Jerusalem in 70 A.D. The Arch also shows the Roman emperor Titus riding a chariot, celebrating victory with the gods.

In many places throughout the world many buildings, monuments and sculptures have been made. Some were made centuries ago, and some were made recently. Many works of arts are significant or a great part of history. Some of the many buildings that have been made throughout time could have also been dedicated to someone or something. For example, the Arch of Titus was dedicated to Titus. Another example would be the Arc de Triomphe which was dedicated to soldiers. Many buildings can have a very significant meaning behind them, in the following essay I will be speaking about the importance of both of these works of art, which are the Arch of Titus and the Arc de Triomphe.

Historical buildings play an important role in describing the social and cultural beliefs and values of a place of its establishment. People visiting the historic buildings are able to develop a proper insight into the community beliefs and practices that exist at the time of construction of a building (DuTemple, 2003). In this context, the present essay examines and evaluates the way in which the architectural building of ‘The Colosseum’ describes the societal and cultural values of Rome. In addition to this, the essay also demonstrates the technical and spatial features of the buildings and illustrates the way through the building is able to develop a language of classical architecture in Rome. The thesis statement of the present essay can be stated as ‘The extent to which the architectural building of ‘The Colosseum’ in Rome depicts the cultural and societal values and principles practiced in Ancient Roman Society’.

Statues made with religious themes can look extraordinary. Four Crowned Martyrs, 1410 - 1414, by Nanni di Banco used martyrs to decorate the “the exterior of Orsanmichele (1337, by Francesco Talenti),” (Stokstad 604). Claus Sluter’s Well of Moses (1395-06) contained Biblical figures such as Moses and Jesus. These statues were created in the Fifteenth century. These statues were made in different styles. The Claus Sluter’s Well of Moses (1395-06) was made in the Northern style, while the Four Crowned Martyrs, 1410 - 1414, by Nanni di Banco were made in the Southern style. These statues can be compared with inspiration by ancient Roman statues, usage of a dome, the presentation the set of statues are in, and the usage of shadows to create 3-D.