La imagen estereotipada del sacrificio del buey en la cultura visual greco-romana

  1. Jorge Tomás García 1
  1. 1 Universidad Autónoma de Madrid
    info

    Universidad Autónoma de Madrid

    Madrid, España

    ROR https://ror.org/01cby8j38

Journal:
Humanitas: Revista do Instituto de Estudos Clássicos

ISSN: 0871-1569

Year of publication: 2019

Issue: 73

Pages: 53-80

Type: Article

DOI: 10.14195/2183-1718_73_4 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Humanitas: Revista do Instituto de Estudos Clássicos

Sustainable development goals

Abstract

The aim of this article is to analyze the iconography of the 'immolatio boum' in the Roman visual culture of the late-republican period and at the beginning of the principality. For this we will use the presence of a Greek painting in particular, the immolatio boum of Pausias of Sicyon (Greek painter of the 4th century BC) that was exhibited in the Pompey portico. This certainty is well documented in literary sources, and we will study how the formal, stylistic and visual novelties introduced by the Pausias pictorial avant-garde had an impact on the visualization of the Roman viewer. The main novelty of this article lies in analyzing the intersignification of Greek painting in a Roman public space in which it acquired interpretative nuances that were designed by the Roman political and religious culture. The literary testimonies of Pliny the Elder, Horace, Pausanias or Athenaeus offer us enough information to reconstruct the visual impact of the work in the Roman context. In addition to these written sources, the methodology of image analysis is constructed from a wide range of contemporary examples from the time of Augustus. Finally, the article aims to show how this characteristic iconography survived through different channels of visual transmission to be present in the work of Rafel Sanzio or Pedro Pablo Rubens.

Bibliographic References

  • Becatti, G. (1973), “Opere d ́arte greca nella Roma di Tiberio” ArchCl 25: 18-53.
  • Bianchi-Bandinelli, R. (1980), La pittura antica. Roma: Editori Riuniti.
  • Brendel, O. (1930), “Immolatio Boum”, RömMitt 4: 196-226.
  • Bruno, V. (1977), Form and Colour in Greek Painting. Londres: Thames & Hudson.
  • Cagnat, R. (1919), “Art. Triumphus”, en C. Daremberg e E. Saglio (eds.), Le Dictionnaire des Antiquités Grecques et Romaines, V. París: Hachette.
  • Casabona, J. (1966), Recherches sur le vocabulaire des sacrifices en grec, des origines à la fin de l’époque classique. Aix-en-Provence: Éditions Ophrys.
  • Castriota, D. (1995), The Ara Pacis Augustae and the Imagery of Abundance in later Greek and Early Roman Imperial Art. Princeton: Princeton University Press.
  • Conlin, D. (1997), The Artists of the Ara Pacis. The Process of Hellenization in Roman Relief Sculpture. Londres: Chapel Hill & London.
  • De Rosa, A. (2000), La geometría nell’immagine. Dall’Antichità al Medie Evo. Turín: UTET.
  • Della Seta, A. (1907), Genesi dello scorcio nell’arte greca. Roma: Deutsches Archäologisches Institut.
  • Durand, J. (1987), “Le boeuf à la ficelle” Images et société en Grèce Ancienne (Actes du Colloque Internacional, Lausanne 8-11 février, 1984), 227-243.
  • Elsner, J. (1991), “Cult and Sculpture: Sacrifice in the Ara Pacis Augustae”, JRS 81: 50-61.
  • Elsner, J. (1995), Art and the Roman Viewer. Cambridge: Cambridge University Press.
  • García y Bellido, A. (1990), Arte romano. Madrid: Consejo Superior de Investi-gaciones Científicas.
  • Germaine, G. (1995), “Images du coronarius dans la literature et l’art de Rome”, MEFRA 107 (2): 1093-1151.
  • Gesztelyi, T. (1966), “Some further points on the authenticity of the Ara Pacis Augustae”, Acta Classica 2: 43-46.
  • Gombrich, E. (1976), The Heritage of Apelles. Studies in the art of the Renaissance. Nueva York: Cornell University Press.
  • Gusman, P. (1914), L’art décoratif de Rome. De la fin de la République au IVº siècle. París: Morel.
  • Hannestad, N. (1986), Roman Art and Imperial Policy. Aarhus: Aarhus University Press.
  • Helbig, W. (1868), Wandgëmalde der von Vesuv Verschütteten städte Campaniens. Leipzig: Breitkopf und Härtel.
  • Hind, A. (1910), Catalogue of Early Italian Engravings preserved in the Department of Prints and Drawings in the British Museum. Londres: British Museum.
  • Heinen, U. (2010), “Immolatio boum: ein unpublizierte Zeichnung für ein Scheinrelief an Rubens’ Haus”, Wallraf-Richartz-Jahrbuch 71: 197-232.
  • Jan, L. y Mayhoff, C. (1967), C. Plini Secundi Naturalis historiae libri. Vol. 5: Libri XXXI-XXXVII. Múnich: Bibliotheca Scriptorum Graecorum Et Romanorum Teubneriana.
  • Keuls, E. (1978), Plato and Greek Painting. Leiden: E.J. Brill.
  • Kleiner, F. (1977), “Artists in the Roman World. An itinerant workshop in Augustan Gaul”, MEFRA 89 (2): 661-696.
  • Koeppel, G. (1983), “Die historischen Reliefs der römischen Kaiserzeit”, BJb 183: 61-145.
  • Koch, N. (2000), Techne und Erfindung in der Klassischen Malerei. Eine termi-nologische Untersuchung. Munich: Biering und Brinkmann.
  • Leach, E. (2004), The Social Life of Painting in Ancient Rome and on the Bay of Naples. Cambridge: Cambridge University Press.
  • Levi, A. (1931), Sculture greche e romane del Palazzo Ducale di Mantova. Roma: Biblioteca d’arte.
  • Lundgreen, B. (1997), “Review: The Boscoreale Cups”, CR 47 (1): 166-169.
  • Lydakis, S. (2002), Ancient Greek Painting and Its Echoes in Later Art. Los Ángeles: The J. Paul Getty Museum.
  • Mansuelli, G. (1958), Galleria degli Uffizi. Le Sculture I. Roma: Libreria dello Stato.
  • McGann, M. (1956), “A Matter of Taste in Horace (Sat. II 7.95 ff.)”, CR N.S. 6 (2): 97-99.
  • Momigliano, A. (1942), “The Peace of the Ara Pacis”, JWarb 5: 228-231.
  • Moretti, G. (1948), Ara Pacis Augustae. Roma: Istituto Poligrafico e Zecca dello Stato.
  • Pfuhl, E. (1923), Malerei und Zeichnung der Griechen. Munich: Erscheinungsjahr.
  • Pollitt, J. (1990), The Art of Ancient Greece: Sources and Documents. Cambridge: CUP.
  • Prescendi, F. (2007), Décrire et comprendre le sacrifice. Les réflexions des Romains sur leur propre religión à partir de la littératture antiquaire. Stuttgart: Franz Steiner Verlag.
  • Reverdin, O. y Grange, B. (eds.) (1980), Le sacrifice dans l ́Antiquité. Génova: Vandoeuvres.
  • Reinach, A. (1985), La peinture ancienne.Textes grecs et latins. Paris: Ed. Macula.
  • Reinach, S. (1909), Répertoire de reliefs grescques et romaines. Paris: E. Leroux.
  • Reinsberg, C. (2006), Die Sarkophage mit darstellungen aus dem Menschenleben. Berlín: Gebr. Mann Verlag.
  • Salvetti, C. (1998), “Il colore dell ́antichità” in A. Donati (ed.), Romana pictura. La pittura romana dalle origini all ́età bizantina. Milán: Electa 85-92.
  • Saxl, F. (1936), “Pagan Sacrifice in the Italian Renaissance”, JWarb 2 (4): 346-367.
  • Shear, T. (1925), “Excavations at Corinth in 1925”, AJA 29: 391-397.
  • Shearman, J. (1972), Raphael ́s Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel. Londres: Phaidon.
  • Stoichita, V. (1997), A Short History of the Shadow. Londres: Reaktion Books.
  • Tomás García, J. (2009), Platón y el arte de su época. Madrid: Signifer Libros.
  • Tomás García, J. (2011), La escuela de pintura de Sición y su fortuna crítica. Oxford: British Archaeological Reports.
  • Tomás García, J. (2015), Pausias de Sición. Roma: Giorgio Bretschneider Editore.
  • Toynbee, J. (1934), The Hadrianic School. A Chapter in the History of Greek Art. Cambridge: Cambridge University Press.
  • White, C. (1993), “Rubens and Antiquity” in Peter C. Sutton (ed.), The Age of Rubens. Boston: Ludion Press.
  • Wolf, G. (1999),“The Origins of Painting”, Res. Anthropology and Aesthetics 36: 60-78.
  • Zanker, P. (1988), The Power of Images in the Age of Augustus. Michigan: University of Michigan Press.
Data source: Dialnet